THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

RIVERSIDE 


WESTMINSTER  ABBEY 


"/,  Jolm  Froissari,  priest  and  chaplain. ..treasurer 
and  canon  of  Chimay  and  Lille  in  Flanders,  set 
myself  to  work  at  my  forge  to  produce  new  and 
7iotable  matter  relative  to  tJie  wars  between  France 
and  England. . .  which  e.xcellent  materials,  throiigh 
the  grace  of  God,  I  shall  work  tipofi  as  long  as  I 
live:  for  the  more  I  labour  at  it  the  more  it  delights 
me."' 


WESTMINSTER 
ABBEY 


ITS  ARCHITECTURE,  HISTORY 
AND  MONUMENTS 


By    HELEN    MARSHALL    PRATT 

Author  of  "The  Cathedial  Churches  of  England" 


ILLUSTRATED 


VOL.   I. 


NEW  YORK 
DUFFIELD  &  COMPANY 
1914 


W5  f7-3 


COPYKIGHT,  19U 

By  DuFFiELD  &  Company 


TO  THE  MEMORY  OP  THE  BRAVE  AND  THE  FAITHFUL, 
THE  STRONG,  THE  STEADFAST  AND  THE  TRUE,  FROM 
PALACES  OR  FROM  HALLS  OP  STATE,  FROM  CHURCH 
OR  CLOISTER  OR  FAIR  ENGLISH  HOME,  WHO  AT  LAST, 
"  THIS  PAINFUL  LIFE  ENDED,"  HAVE  FOUND  PEACE- 
FUL SHELTER  WITHIN  THE  WALLS  OF  WESTMINSTER 
ABBEY,  I  DEDICATE  THIS  BOOK. 


TABLES  OF  CONTENTS 

VOLUME  I. 

Chapter.  Page 

I.  The  Founding  of  the  Abbey      .      .        i 
II.  The  Saxon  Church  and  the  Norman 

Church  of  Edward  the   Confessor      22 

III.  Henry     Ill's     Church,     the     Present 

Building 52 

IV.  Completion  of  the  Nave — the  Novum 

Opus 79 

V.  The  Plan 96 

VI,  The  Choir  and  Sanctuary    .       .       .101 

VII.  The  Transept    ......  136 

VIII.  The  North  Transept       ....  144 

IX.  The    South   Transept,   or  the  Poets' 

Corner 164 

X.  The   South  Transept,   continued       .     194 

XJI.  The    Ambulatory 222 

XII.  The    Chapel   of    Edward    the    Con- 
fessor        245 

XIII.  The  Tomb  and  Shrine  of  Edward  the 

Confessor 268 

XIV.  Other    Tombs     in    the     Confessor's 

Chapel 287 

XV.  Chapels    of    the    South    Ambulatory    347 
XVI.  Henry  VII's  Lady  Chapel     .       .       .386 


LIST  OF  ILLUSTRATIONS 

VOLUME   I 

Westminster  Abbey  from  the  Dean's  Yard 

Frontispiece 
Facing  Page 

The  Tomb  of  King  Sebert 6 

The  Abbey  Church  in  1654,  with  Richard  II's 

Porch — from  Hollar's  etching  ...  16 
The  Norman  Undercroft  in  the  East  Cloister  .  38 
The  Abbey  Church  of  Jumieges  ....  48 
Henry  HI^  from  the  effigy  on  his  Tomb  .  .  54 
Cardinal    Langham's    Tomb    in    St.    Benedict's 

Chapel 84 

The  Choir  looking  East,  arranged  for  a  Corona- 
tion    106 

The  Triforium  Arcade 108 

Abbot  Ware's  Pavement  in  the  Sanctuary       .     108 
Tombs  of  Aveline,  Countess  of  Lancaster,  Ay- 

mer  de  Valence  and  Edmund  Crouchback    .     118 
The    Transept,    arranged    for    Edward    VH's 
Coronation,  with  thrones  for  the  King  and 

Queen 140 

The  North  Transept,  looking  towards  the  Poets' 

Corner 146 

The  Earl  of  Chatham 156 

A  Censing  Angel  in  the  Transept  ....     166 
View  into  the  South  Transept  from  the  Sanc- 
tuary          170 

Monuments  to  Shakespeare,  Thomson,  Camp- 
bell ;   and   busts   of    Burns,    Coleridge   and 

Southey 186 

Monuments  to  Spenser,  Milton,  Jonson,  Butler, 
Grey,  Chaucer,  Dryden  and  Longfellow : 
graves  of  Browning  and  Tennyson      .       .     196 


List  of  Illustrations 

Facing  Page 

Chaucer's  Tomb 204 

St.  Faith 218 

South    Ambulatory,    St.    Nicholas'    Chapel    and 

Henry   V's   Chapel 224 

North  Ambulatory,  Queen  Eleanor's  Tomb,  St. 

John  the  Baptist's  Chapel  and  Islip's  Chapel  234 

Edward  the  Confessor's  Chapel     ....  246 

Coronation  Chair 262 

The  Tomb  of  Henry  HI 292 

The  Tomb  of  Queen  Philippa :  part  of  Henry 

V's  Chantry  Chapel 310 

Reredos  of  Henry  V's  Chantry  Chapel      .       .  322 

The  Tomb  of  Edward  HI 330 

Tomb   of  William    de    Valence   with    detail    of 

Shield  and  Sword  Belt 358 

The  Duchess  of  Suffolk,  Mother  of  Lady  Jane 

Grey 358 

Henry  VH's  Chapel  looking  West,  with  Stalls 

and  Gates 386 

Henry  VH 390 

Fan  Tracery 434 

Demi-Angels,  with  Tudor  emblems      .       .       .  434 

A  Bronze  Gate 442 

Dean  Williams 4S8 


LIST  OF  LINE  DRAWINGS 
IN  TEXT 

VOLUME  I. 

Page 

A  Mediaeval   Organ 23 

Earl's    Barton   Tower 24 

The  Norman  Church,  from  the  Bayeux  Tapestry  29 

Plan  of  the  Abbey  Church  of  Jumieges     .       .  44 

Capital   from  Jumieges 46 

Henry  III  giving  directions  to  his  architect  .       .  (>^ 
Henry    HI    delivering    the    relic    of    the    Holy 

Blood  to  the  Abbot  of  Westminster     .       .  74 
Conjectural  Viev/  of  the  Abbey  Church  before 

the  completion  of  the  nave     ....  78 

Prince  Edmund  in  his  cradle 121 

Two  of  the  Knights  painted  on  Crouchback's 

Tomb 123 

Plan  of  Abbey 127 

A  Spandril   in  the  North  Transept     .       .       .  146 

Wolf  Marks  on  German  swords     ....  267 

A  Capital  in  St.  Benedict's  chapel  ....  353 

A  Spandril  in  St.  Edmund's  chapel    .       .       .  358 


PREFACE 

He  who  attempts  to  write  a  book  on 
Westminster  Abbey,  whatever  his  prepa- 
ration, must  realize,  as  his  printed  pages 
begin  to  look  him  in  the  face,  how  much 
he  has  left  undone  In  this  story  of  the  art 
and  history  of  a  thousand  English  years. 

My  aim  in  preparing  this  volume  has 
been  to  combine  the  most  important  and 
interesting  facts  concerning  the  founding, 
the  establishment,  and  the  architectural 
features  of  the  Abbey  as  they  are  under- 
stood today,  and  to  present  the  conclu- 
sions of  the  most  reliable  modern  archae- 
ologists, for  the  convenient  use  of  readers 
at  home  and  of  students  of  art  and  ar- 
chitecture. From  the  mass  of  biograph- 
ical material  collected,  I  have  endeav- 
oured to  select  the  most  interesting  and 
vital. 

In  particular,  and  perhaps  distinguish- 
ing this  book  from  others,  I  have  endeav- 
oured to  comprehend  and  interpret  the  con- 
ditions of  the  Confessor's  residence  of 
thirty  years  at  the  Norman  Court;  the 
personality    of    those    who    directed    his 


Preface 

studies  and  influenced  his  life  as  revealed 
in  the  chronicles  of  England  and  of  Nor- 
mandy; the  spirit  in  which  he  came  to  the 
throne  of  his  fathers;  and  why  and  how 
he  came  to  build  that  wonderful  Norman 
Abbey  church  of  Westminster,  the  design 
of  which  is  being  studied  with  profound 
interest  by  modern  archaeologists. 

In  a  similar  manner,  I  have  attempted 
to  show  the  spirit  of  the  life  and  times 
of  the  third  Henry  and  his  reasons  for 
building  the  present  church:  the  story  of 
the  completion  of  the  nave  under  Car- 
dinal Langham's  legacy,  and  the  progress 
of  the  building  under  Richard  II,  Henry 
V  and  later  kings. 

If  I  have  seemed  to  overestimate  the 
influence  of  English  Gothic  architecture 
in  the  church  so  often  called  chiefly 
French,  it  is  because  long  study  of  Eng- 
lish Gothic  architecture  as  seen  in  Eng- 
lish cathedrals  leads  me  to  place  a  high 
value  on  its  splendid  original  develop- 
ment. Similarly,  I  place  a  high  estimate 
on  that  latest  development  which  we  call 
Perpendicular  Gothic  as  displayed  at 
Westminster  in  Henry  VII's  chapel,  In 
which  not  a  trace  of  foreign  influence  ap- 
pears save  in  the  Renaissance  tombs  of 
the  founder  and  his  family. 

The  characteristics   of  the  monuments 


Preface 

themselves,  from  the  ancient  Roman  cof- 
fin and  the  plain  effigies  of  the  early  Nor- 
man abbots  to  the  sculptured  glories  of 
the  Plantagenet,  Tudor  and  Stuart  tombs, 
have  proved  a   fruitful   study   for  many 
generations;   and  the   lives   of  the  kings 
and    queens,    the    poets,    statesmen,    war- 
riors and  courtiers  here  represented  ap- 
peal forcibly  to  the  lover  of  history  and 
romance.      But    in    a   volume   of    limited 
size,  it  is  obviously  impossible  to  include 
the  entire  series  of  tombs  and  their  occu- 
pants.    The  selection   of  names  includes 
chiefly  those   of  largest   note  in  English 
history:  those  whose  genius  is  universally 
recognized:  those  in  any  way  linked  with 
American   history:    and,    in   the   case    of 
monuments  or  memorials,  those  of  supe- 
rior beauty,  those  which  bear  noted  names 
and  those  which,  from  their  very  incon- 
gruity  or   absurdity,   represent  the  taste 
of  the  period  in  which  they  were  erected. 
The  history  of  Westminster  Abbey  is 
almost  an  epitome  of  the  nation's  history 
and   he   who   will  pursue   the  history  of 
England    with    the    Abbey   for    a    guide, 
taking  up  the  reigns  of  the  kings  from  the 
Confessor  onward,  or,  taking  each  royal 
tomb,  will  trace  its  story,  will  find  him- 
self at  the  close  of  his  study,  master  of 
a  large  portion  of  English  history. 


Preface 

My  preparation  for  this  work  has  con- 
sisted of  long  continued  daily  study  of  the 
.building  itself,  the  remotest  corners  of 
which  were  rendered  accessible  through 
the  courtesy  of  its  official  guardians:  con- 
stant acquaintance  with  the  church  and  its 
precincts  as  worshipper  and  visitor,  dur- 
ing years  of  continuous  residence  in  Lon- 
don, and  the  study  of  many  books  and 
ma:nuscripts  at  the  British  Museum, 
where  much  of  this  volume  was  written. 

Thanks  for  courtesies  received  at  the 
Abbey  are  gratefully  tendered  to  Dean 
Armitage  Robinson:  to  Rev.  R.  B.  Rack- 
ham  who  revealed  the  beauties  of  the  old 
Infirmary:  to  Canon  Beeching,  now  Dean 
of  Norwich:  to  Bishop  Welldon  and  the 
late  sub-Dean  Duckworth:  to  Sir  Fred- 
erick Bridge  whose  home  in  the  Eitlington 
Tower  opened  cordially  and  often  to  an 
Inquiring  guest:  to  Mrs  Murray  Smith 
and  Miss  Rose  Bradley,  in  memory  of 
their  kindness  and  that  of  their  father  the 
late  Dean  Bradley,  whose  affectionate  in- 
terest in  the  church  over  which  he  presided 
so  prosperously  for  more  than  twenty 
years  never  failed,  and  who  loved  to  pay 
a  visit  to  the  Abbot's  Pew  when  night 
shadows  were  falling,  and  sometimes  In- 
vited a  delighted  guest  to  share  his  good- 
night to  the  old  Abbey. 


Preface 

To  my  brother,  William  O.  Pratt,  I 
am  much  indebted  for  advice,  and  for  con- 
stant assistance  in  proof-reading.  To  the 
Superintendent  and  assistants  of  the  Brit- 
ish Museum  Reading-Room:  to  Mr.  Ed- 
ward R.  Smith,  Director  of  the  Avery 
Architectural  Library  and  to  assistants  in 
the  New  York  Public  Library  where  some 
additional  study  has  been  pursued,  thanks 
are  due  for  many  courtesies  rendered. 


WESTMINSTER  ABBEY 
VOL.  I 


CHAPTER  I 
THE  FOUNDING  OF  THE  ABBEY: 

WHAT  IT  HAS  BEEN :  WHAT  IT  IS 

The  great  brown  stone  church  situated 
across  the  street  from  the  Houses  of  Par- 
liament is  called  Westminster  Abbey, 
or,  more  correctly,  Westminster  Abbey 
church,  because  it  was  formerly  the  church 
of  the  great  Benedictine  abbey  of  St. 
Peter's  at  Westminster.  It  is  familiarly 
known  in  England  as  The  Abbey. 

It  is  not  a  cathedral — though  it  once  en- 
joyed that  honour  for  a  period  of  ten 
years — since  it  has  no  bishop  and  contains 
no  bishop's  chair  or  cathedra:  it  is  not  a 
part  of  any  English  diocese:  is  not  subject 
to  the  authority  of  any  diocesan  governor 
whatever,  whether  archbishop,  bishop  or 
archdeacon.  Even  the  bishop  of  London 
who  has  his  throne  at  St.  Paul's  cathedral, 
has  no  jurisdiction  over  the  Abbey.  The 
Archbishop  of  Canterbury  has  no  author- 
ity here,  save  on  the  single  occasion  of  a 
coronation.  Its  ecclesiastical  head  is  the 
dean  who  has  his  chapter  of  canons  and  an 
archdeacon.     The   dean   is   appointed  by 


Westmnstcr  Ahhey 

the  king  and  to  him  directly  owes  his  au- 
thority and  to  him  alone  is  responsible. 
He  is  subject  to  no  outside  ecclesiastical 
jurisdiction  whatsoever. 

The  constitution,  government  and  rela- 
tive position  of  the  Abbey  are  therefore, 
peculiar,  almost  but  not  quite  unique  since 
St.  George's,  the  King's  royal  chapel  at 
Windsor,  is  of  the  same  general  character 
though  the  establishment  is  much  smaller, 
and  each  is  therefore  called,  very  fittingly, 
a  Royal  Peculiar. 

Having  thus  defined  its  position,  in  a 
manner,  negatively,  it  is  of  interest  to  know 
what  the  Abbey  stands  for  today,  and 
what  steps  have  led  up  to  its  present  con- 
stitution. Its  exceedingly  romantic  and 
varied  history  falls  naturally  into  five  sec- 
tions, Including  its  existence  (i)  as  a  Bene- 
dictine monastery;  (2)  as  a  mitred  abbey; 
(3)  as  a  cathedral  church,  the  seat  of  a 
bishop;  (4)  as  a  restored  monastery  under 
Queen  Mary,  and  (5)  as  a  collegiate 
church,  having  unusual  privileges  and  ex- 
emptions which  entitle  it  to  the  name 
Royal  Peculiar. 

The  first  chapter,  Its  history  as  a  monas- 
tery, must  Include  the  story  of  Its  founding. 

In  the  dim  early  days  of  the  Christian  cen- 
turies, there  was  no  one  to  dispute  the  pos- 
session, by  the  first  monks,  of  the  long  low 


The  Founding  of  the  Abbey 

island  or  gravelly  peninsula  formed  by  in- 
lets and  divisions  of  the  river  Thames  and 
the  Tyburn  river,  known  as  Thorn  Eye 
or  Isle,  on  account  of  its  dense  thickets  of 
thorn.  Here  the  wild  ox  and  red  deer 
from  the  neighbouring  hills  grazed  peace- 
fully and  undisturbed  in  the  "terrible 
place"  (as  it  is  called  in  Offa's  charter) 
which  seemed  inaccessible  to  man,  and 
their  bones  were  found  in  the  earth  by 
workmen  laying  the  foundations  of  the 
Victoria  tower,  and  later,  in  1868,  when 
making  excavations  in  the  Broad  Sanctu- 
ary in  front  of  the  church,  for  the  under- 
ground railway.  The  island  lay  a  little 
beyond  what  was  then  the  west  gate  of 
London.  Here  springs  of  water  bubbled 
up  from  the  earth,  and  here,  attracted  no 
doubt  by  these  springs,  by  the  healthful 
gravelly  soil  and  by  the  fishing  in  the  rivers 
close  by,  as  well  as  by  the  natural  beauty 
and  seclusion  of  the  place,  some  early 
monks  founded  a  small  monastery.  Early 
legends  tell  us  that  a  temple  of  Apol- 
lo once  stood  here  and  was  destroyed 
by  an  earthquake  in  154  A.  D.,  and  that 
the  first  monastery  was  founded  by  a 
British  king,  Lucius,  himself  a  myth,  the 
reputed  founder  also  of  Glastonbury, 
Gloucester  and  Dover  abbeys.  From  the 
mass  of  traditions  and  legends  some  little 


Westminster  Abbey 

grains  of  truth  may  be  extracted,  no  doubt, 
but  in  general,  it  is  safe  to  say  that  almost 
nothing  is  certainly  known  of  these  early 
centuries. 

The  earliest  historian  of  the  Abbey  his- 
tory is  Sulcard,  a  Norman  monk  of  the 
Conqueror's  time  (1066-1087),  brought 
over  from  the  abbey  of  Bernay  by  the 
King.  He  lived  so  near  to  the  time  of  Ed- 
ward the  Confessor's  refounding  and 
building  at  Westminster  at  a  period  when 
all  the  early  traditions  of  its  establishment 
would  naturally  be  well  known  and  cor- 
rectly estimated  by  many,  that  considerable 
confidence  is  placed  in  his  writings. 

The  honour  of  founding  the  earliest 
church  on  Thorney  Isle,  Sulcard  gives  to 
a  wealthy  Christian  citizen  of  London 
whom  he  does  not  name:  who,  with  his 
wife,  was  inspired  and  encouraged  by  King 
Ethelbert,  founder  of  St.  Paul's.  Sulcard 
calls  him  "a  certain  citizen"  (quidam 
civium  urhis  non  infimus);  but  some  one 
in  copying  Sulcard's  manuscript  scribbled 
the  name  Sehert  on  the  margin,  and  later 
it  became  incorporated  with  the  text, 
and  the  Christian  citizen,  Sebert,  and  his 
wife  were  thereafter  named,  at  least  for 
some  time,  as  the  founders  of  the  original 
Westminster  Abbey.  Sulcard  tells  us  that 
they  lived  to  see  the  building  completed 


The  Founding  of  the  Abbey 

and  consecrated,  and  that  when  they  died 
they  were  buried  before  the  high  altar. 
He  adds  that  the  church  stood  neglected 
from  Ethelbert  to  Offa,  whose  charter,  da- 
ted 785  (now  considered  spurious),  grants 
new  lands  to  the  monks. 

The  Abbey  thus  founded  was  named  the 
Westminster  in  order  to  distinguish  it 
from  the  foundation  in  the  east  of  Lon- 
don which  we  call  St.  Paul's,  and  which 
was  the  Eastminster.  The  founding,  ac- 
cording to  Sulcard,  was  in  the  time  of 
Bishop  Mellitus  who  was  consecrated  to 
St.  Paul's  in  604;  thus  making  the  two 
foundations  of  nearly  the  same  date,  as 
the  monks  of  St.  Peter  desired. 

Ailred,  Abbot  of  Rivaulx,  writing  the 
Confessor's  life  in  1163,  attributes  the 
founding  to  Sebert,  king  of  the  East  Sax- 
ons, who  died  in  616,  and  his  wife,  Ethel- 
goda:  Gervase  of  Canterbury  gives  the 
same  origin,  but  adds,  "at  the  entreaty  of 
Mellitus,  Bishop  of  London."  Ralph  of 
Diceto  also  uses  the  King's  name  as  found- 
er, and  It  is  true  that  a  tomb  called  that 
of  King  Sebert  has  always  been  shown  in 
the  Abbey  and  exists  there  today:  Malmes- 
bury,  using  the  same  tradition,  adds  that 
it  was  founded  by  the  urgent  request  of  St. 
Peter  himself.  Says  The  Liber  Regius : 
"Sebert,  the  King  being  baptized  by  St.  Au- 


Westminster  Abhey 

gustine,  in  the  place  where  stood  a  temple 
dedicated  to  Apollo,  on  the  west  side  of 
London  called  Thorney,  erected  a  church 
in  honour  of  God  and  St.  Peter  and  re- 
quested of  Mellitus,  Bishop  of  London,  to 
dedicate  it." 

All  these  nearly  contemporary  chroni- 
clers of  the  eleventh  and  twelfth  centuries 
may  be  grouped  together.  But  over 
against  these  statements  must  be  placed  the 
overwhelming  fact  that  the  Venerable 
Bede  (673-735),  writing  his  invaluable 
Ecclesiastical  History  of  Great  Britain  in 
731,  and  including  in  his  account  of  Lon- 
don every  foundation  then  known,  de- 
scribes St.  Paul's,  but  makes  no  mention 
whatever  of  a  church  of  St.  Peter,  as  he 
most  certainly  would  have  done  had  such 
a  foundation  ,  existed.  Much  might  be 
added,  but  not,  I  think,  to  edification,  to 
these  various  legends  and  traditions  con- 
cerning the  founding  of  the  Abbey. 

Camden  tells  us  that  Canute  (1016- 
1035),  the  King,  attracted  by  "the  sweet 
loveliness  of  the  isle,"  built  here  a  royal 
palace,  and  was  deeply  interested  in  the 
monastery  the  society  of  whose  abbot, 
Woolnoth,  was  especially  pleasing  to  him. 
The  island  he  describes  as  14 10  feet  long 
and  mo  feet  wide. 

It  must  here  be  mentioned  as  a  matter 


H 


The  Founding  of  the  Ahhey 

of  interest,  and  as  adding  some  support  to 
the  story  which  attributes  the  founding  to 
an  early  date,  the  overthrow  of  the  church 
to  the  persecutions  under  Diocletian,  and 
its  refounding  as  a  temple  of  Apollo,  that 
recent  excavations  beneath  Edward  the 
Confessor's  chapel,  by  Dean  Armitage 
Robinson,  disclosed  a  layer  of  Roman  tiles 
on  the  apse  foundation,  and  fragments  of 
a  Roman  roof-tile  having  flanged  sides.* 
"It  is  evident,"  writes  the  dean,  "that 
there  must  once  have  been  an  important 
Roman  building  on  the  site." 

Coming  down  to  reliable  history  which 
must  begin  with  the  fact  that  a  monastery 
probably  founded  after  BedeV^ime,  not 
far  from  740,  had  long  existed,  in  some 
sort,  on  this  spot,  we  arrive  at  the  time 
(1042-6),  when  Edward  the  Confessor 
being  absolved  from  a  vow  made  while  he 
was  in  exile,  to  undertake  a  pilgrimage  to 
Rome,  founded  or  rather  refounded  here 
a  monastery  in  the  name  of  St.  Peter  and 
built  a  noble  church  and  ample  monastic 
offices. 

The  church  was  dedicated  in  1065,  the 
first  time  that  a  church  had  been  dedicated 
here  by  human  hands,  it  was  said.  But 
the  legend  of  its  consecration  by  St.  Peter 
himself,  must  always  be  told  in  this  con- 

*Arch(Eologia  62:  gc). 


Westminster  Ahheij 

nection.  On  the  evening  before  the  day 
appointed  for  its  first  consecration  in  the 
early  seventh  century,  a  fisherman  of  Lam- 
beth met  on  the  shore  a  stranger  who  of- 
fered him  meet  reward  if  he  would  ferry 
him  over  to  the  then  wild  island  of  Thor- 
ney.  Arriving  there,  he  entered  the 
church,  when 

"Lo!  On  a  sudden,  all  the  pile  is  bright, 

Nave,  choir  and  transept  glorified  with  light; 

While  tongues  of  fire  on  coign  and  carving  play 

And  Heavenly  odors  fair. 

Come  streaming  with  the  floods  of  glory  in, 

And  carols  float  along  the  happy  air, 

As  if  the  reign  of  joy  did  then  begin."* 

Angels  and  archangels  were  seen  de- 
scending a  ladder  let  down  from  heaven 
and  strains  of  exquisite  music  ravished  the 
senses  of  the  Lambeth  fisherman,  the  only 
witness  of  the  miracle. 

When  the  stranger  returned  to  the  Lam- 
beth shore,  the  fisherman  asked  for  his  re- 
ward and  was  bidden  to  cast  his  net  in  the 
river,  when  he  brought  up  a  miraculous 
draught  of  salmon,  "which,"  said  the 
stranger,  "should  never  fail  in  Lambeth  so 
long  as  a  tithe  of  them  was  offered  to  the 
church  in  Thorney  Isle."  He  bade  the 
fisherman  take  one  to  Mellitus  the  Bishop 
of  London,  "and  tell  him  how  he  had  car- 
ried in  his  boat  the  fisher  of  the  Galilean 
lake    and  had  seen  the  church  consecrated 

♦Matthew  Arnold. 

8 


The  Founding  of  the  Abbey 

by  St.  Peter  and  all  the  glorious  hierarchy 
of  heaven."  Which  when  Bishop  Mellitus 
heard,  he  hastened  to  the  church  and  there 
found  twelve  consecration  crosses  on  the 
walls,  the  letters  of  the  alphabet  written 
twice  on  the  sanded  pavement,  and  the 
traces  of  chrism  and  the  droppings  of  the 
angelic  tapers. 

From  the  year  1065,  when  Edward  the 
Confessor's  church  was  dedicated,  the  ab- 
bot and  his  monks  were  comfortably 
housed  and  cared  for  in  the  great  cloister 
with  its  dormitory,  refectory  and  kitchens, 
its  chapter  house  and  scriptorium,  its  or- 
chards and  gardens  and  vineyard,  its 
mill,  granaries,  and  almonry,  its  sanctuary 
of  refuge  for  the  distressed,  and  all  that 
was  necessary  for  the  complete  equipment 
of  a  mediceval  monastery.  In  the  midst 
of  all  the  monastic  buildings  rose  the  state- 
ly Abbey  church,  the  predecessor  of  that 
which  we  see  today,  for  which  the  monas- 
tery existed,  in  which  the  voice  of  prayer 
and  anthem  and  song  at  its  many  altars 
scarcely  ceased  from  earliest  dawn  to  deep- 
est midnight. 

This  is  the  first  chapter  in  the  Abbey's 
long  history,  a  chapter  in  which  we  have 
seen  that  the  monastery  must  have  been 
in  existence  as  early  as  the  eighth  century: 
was  refounded  early  in  the  reign  of  Ed- 


Westminster  Abbey 

ward  the  Confessor  (1042-1066),  and 
furnished  with  ample  and  beautiful  build- 
ings. As  a  monastery  it  continued  like 
hundreds  of  others  in  England,  for  nearly 
five  hundred  years. 

The  second  chapter  finds  the  monastery 
of  St.  Peter's  grown  rich  and  powerful, 
having  possessions  in  lands  all  about  the 
vicinity  of  what  we  call  London  today,  and 
^  r  in  the  then  far-away  counties:  Its  granaries 

■^  well  filled:  Its  gardens  and  orchards  fruit- 

ful: Its  altars  fragrant  with  much  incense: 
its  cloisters  Well  peopled  with  monks  and 
novices.  Its  environment  constantly  improv- 
ing as  the  town  Increased  In  wealth  and 
population. 

Abbot  Lawrence  sat  in  the  abbot's  chair 
at  Westminster  from  11 60  to  1176.  He 
had  been  a  learned  monk  of  St.  Albans 
monastery,  and  had  come  thence  to  West- 
minster. At  least  two  yeaxS  before  his 
coming,  St.  Albans  had  been  accorded  the 
honours  of  a  mitred  abbey  and  exemption 
from  episcopal  jurisdiction  In  England,  ob- 
tained from  the  pope.  In  1 154,  the  Pope 
at  Rome  was  an  Englishman,  Adrian  IV, 
the  only  Englishman  who  ever  sat  In  St. 
Peter's  chair.  His  father,  late  In  life  had 
become  a  monk  of  St.  Albans,  a  privilege 
once  refused  the  son  on  account  of  his 
lack    of    education:    and    on    the    appeal 

10 


The  Founding  of  the  Abbey 

of  the  St.  Albans  abbot,  who  went  to 
Rome  with  two  monks  (possibly  includ- 
ing the  Pope's  own  father),  and  by  the 
aid  of  numerous  rich  gifts,  the  Pope  had 
granted  St.  Albans  absolute  exemption 
from  diocesan  supervision  making  it  sub- 
ject to  Rome  alone;  and  permitted  its  ab- 
bots to  wear  the  mitre,  ring  and  sandals  of 
a  bishop  and  to  have  his  crozier  as  a  badge 
of  office.  Pope  Adrian  died  in  1158, 
and  on  account  of  some  very  natural  con- 
tentions in  the  English  church  concerning 
the  matter,  the  St.  Albans  abbot  did  not 
actually  wear  his  mitre  until  Easter,  1163, 
and  in  that  same  year  he  occupied  the 
highest  seat  among  the  English  abbots  at 
the  great  council  of  Tours. 

In  1 163,  influenced  in  some  degree  no 
doubt,  by  the  exalted  position  accorded  the 
neighbouring  monastery,  Abbot  Lawrence 
made  successful  efforts  to  secure  the 
canonization  of  Edward  the  Confessor, 
once  rejected  at  Rome;  and  twelve  years 
later,  in  1175  he  also  secured  from 
Rome  for  the  abbots  of  St.  Peter's,  for- 
ever, the  precious  privilege  of  wearing  the 
episcopal  mitre,  ring,  gloves  and  sandals, 
and  to  bear  the  crozier,  though  he  himself 
did  not  live  to  use  these  coveted  insignia. 

This  increase  of  privilege  and,  to  an  ex- 
tent,   of  power,    introduced   no   essential 

II 


Westminster  Ahhey 

change  in  the  general  conduct  of  the  es- 
tablishment, but  it  was  hereafter  known 
as  a  mitred  abbey,  and  by  reason  of  its  in- 
creasing possessions,  and  the  possession  of 
a  saint  and  a  shrine,  it  became  one  of  the 
most  powerful,  a  position  which  was  often 
contested  by  St.  Albans. 

As  a  rich  and  powerful  mitred  abbey 
also  virtually  a  royal  chapel,  since  it  was 
within  the  precincts  of  the  king's  pal- 
ace of  Westminster  and  was  closely  linked 
with  coronations,  parliamentary  gather- 
ings, pageants  of  many  sorts  and  royal 
funeral  obsequies,  St.  Peter's  continued 
for  nearly  four  hundred  years.  Kings 
came  and  went  between  ii 63  and  1539. 
Henry  II  and  Becket  had  their  fierce  strife 
and  the  archbishop's  murder  astounded 
Christendom;  Richard  the  Lion-hearted 
went  on  his  crusade;  the  bad  John  shuffled 
through  his  inglorious  reign  and  sullenly 
signed  the  Great  Charter:  his  better  son, 
Henry  III  splendidly  rebuilt  the  old  Nor- 
man church  of  the  Confessor  and  here 
found  burial  and  a  noble  tomb.  The 
strong  first  Edward,  his  weak  son,  and 
the  greater  third  Edward  filled  up  the  cen- 
tury between  1272  and  1377,  and  left  not 
much  beside  four  royal  tombs  to  their 
memory  in  the  great  abbey  church.  The  last 
and     almost    the    weakest    Plantagenet, 

12 


The  Founding  of  the  Ahhey 

Richard  II,  the  Black  Prince's  son,  assisted 
well  and  generously  in  the  completion  of 
the  nave  building  so  long  as  he  had  power, 
and  left  a  beautiful  tomb  for  his  queen  and 
himself.  The  House  of  Lancaster,  and  its 
three  Henrys,  succeeding  the  Plantagenets, 
with  their  French  wars,  and  the  long  per- 
iod of  the  Wars  of  the  Roses,  had  only 
incidental  connection  with  the  Abbey  his- 
tory, though  the  fourth  Henry  died  in  the 
Jerusalem  Chamber,  and  Henry  V's  queen 
built  here  a  magnificent  tomb  to  his  mem- 
ory. York  had  its  connection  with  the 
Abbey  in  the  first  queen  of  its  house,  Eliza- 
beth Woodville,  and  the  birth  of  her  son, 
Edward  V  within  the  Abbey  precincts 
where  she  had  sought  refuge  from  the 
enemies  of  Edward  IV;  in  the  pitiful  re- 
membrance of  her  two  sons,  the  murdered 
Princes  of  the  Tower;  and  in  the  unmark- 
ed grave  of  Richard  Ill's  unhappy  queen 
in  the  Sanctuary.  With  the  House  of  Tu- 
dor, Westminster  again  glows  with 
memories  of  royalty,  in  the  completion  of 
the  nave;  of  Henry  VII's  magnificent 
chapel,  and  of  the  noble  tomb  of  his  queen 
and  himself  and  of  the  learned  Lady  Mar- 
garet his  mother. 

The  second  Tudor  king  begins  to  write 
the  events  in  the  final  history  of  the  Abbey 
as  a  monastery.     In  the  last  seven  years 

13 


Westmi7ister  Abhey 

of  his  life,  when  all  that  was  cruel  and 
unlovely  and  repulsive  had  displaced  all 
that  was  excellent  in  Henry  VIII's  char- 
acter, when,  eager  for  the  wealth  that 
had  gathered  around  the  noble  old  Eng- 
lish monasteries  throughout  the  land,  the 
rich  manors,  the  tithes,  the  golden  shrines 
of  saints  with  their  marvellous  store  of 
jewels,  he  caused  the  monks  to  be  disper- 
sed, the  establishments  dissolved  and  the 
wealth  to  be  poured  into  the  king's  treas- 
ure house,  he  came,  in  his  evil  course,  to 
the  monastery  of  St.  Peter's  and  the  Con- 
fessor's shrine.  So  early  as  1536  he  had 
gained  possession  of  some  of  its  lands,  of 
that  which  we  call  St.  James  Park:  of  the 
Abbot's  manor  house  of  Neate;  of  the 
great  estate  of  Covent  (Convent)  Garden; 
of  Hyde  Park  and  other  broad  possessions 
through  bargains  with  the  monks  which 
were  greatly  in  his  favour.  And  he  had 
caused  the  Confessor's  shrine  to  be  torn 
down,  the  ornaments  and  the  gold  and  sil- 
ver plate  to  be  sold,  and  the  jewels  to  be 
taken  to  his  coffers.  The  revenues,  even 
then,  amounted  to  $350,000  in  present 
values.  In  1539,  he  caused  the  bereft 
monastery  to  be  dissolved  and  the  twenty- 
four  monks,  all  that  remained,  with  Abbot 
Boston  at  their  head,  signed  the  deed  sur- 
rendering their  abbey  and  all  its  posses- 

14 


The  Founding  of  the  Abbey 

sions  to  the  king.  And  thus  ended  the  sec- 
ond chapter  in  the  history  of  the  establish- 
ment. 

The  third  chapter,  from  1540-1550,  in- 
cludes the  history  of  Westminster  as  a 
cathedral  church.  Not  a  full  year  had 
elapsed  after  its  dissolution  before  the  de- 
spoiled monastery  was  refounded,  not  as 
a  monastery,  but  as  the  cathedral  church 
of  a  new  diocese,  the  diocese  of  Westmins- 
ter. For  ten  years  it  rightfully  bore  the 
name  cathedral,  but  the  name  continued  for 
some  time  after  the  dignity  had  departed. 
From  the  loss  of  its  shrine,  its  chief  glory, 
from  the  loss  of  estates  and  from  its  di- 
lapidated and  abased  condition,  it  sudden- 
ly became  a  new  creature — a  cathedral 
like  St.  Paul's,  under  the  prosaic  diocesan 
direction  of  a  bishop  for  the  first  time  in 
nearly  four  centuries,  but  a  bishop  whose 
throne  was  in  its  own  church. 

The  new  diocese  carved  out  of  that  of 
London,  included  all  Middlesex  county  ex- 
cept Fulham  parish  in  which  the  Bishop  of 
London  had  his  palace.  Thomas  Thirlby, 
a  gentle  old  man,  was  appointed  its  bishop 
and  the  abbot's  house  given  him  for  a  pal- 
ace; also  for  his  use  were  given  the  cloister 
of  the  monks  and  a  part  of  the  present 
Dean's  Yard.  The  former  abbot  was  made 
dean  of  the  new  establishment  and  removed 

15 


Westminster  Abhey 

from  the  abbot's  house  to  the  Misericord, 
on  the  site  of  what  is  now  called  Ashburn- 
ham  House — belonging  to  the  Westmin- 
ster School.  Five  of  the  old  monks  were 
made  canons;  four  of  the  younger  monks 
became  minor  canons.  The  record  of  the 
new  cathedral  chapter  begins  with  1542, 
but  the  bishop  had  been  consecrated  In 
1540,  in  Henry  VIFs  new  chapel.  The 
fine  old  tapestries  of  the  Jerusalem  Cham- 
ber, seized  by  the  king,  were  bought  over 
by  the  new  bishop  and  the  dean.  At  this 
time  the  House  of  Commons  which  had 
held  its  sessions  in  the  chapter  house,  re- 
moved to  St.  Stephen's  chapel  In  the  pal- 
ace of  Westminster,  and  thereafter,  and 
for  a  long  period,  the  chapter  house,  fitted 
up  with  walnscotted  cupboards,  was  used 
for  a  record  room. 

Henry  VIII  died  In  1547,  and  Edward 
VI  his  young  son,  reigned  In  his  stead, 
through  his  uncle,  the  Protector  Somerset. 
Many  were  the  changes  made  In  the  Abbey 
by  this  ardent  Puritan  Protector.  It  was 
said  that  he  proposed  to  demolish  the  ab- 
bey church  and  buildings,  and  In  order  to 
appease  him,  twenty-two  tons  of  good 
Caen  stone  from  the  refectory,  lately  des- 
troyed by  the  dean,  and  other  buildings 
were  given  the  Protector  to  be  used  in  the 
erection  of  the  original  Somerset  House 

16 


The  Founding  of  the  Ahbey 

In  the  Strand.  The  Dean's  Yard  and  other 
lands  belonging  to  the  abbot,  with  fourteen 
manors,  were  also  given  this  powerful  re- 
gent, "in  the  hope  that  he  would  be  good 
and  gracious  to  them"  and  spare  the  beau- 
tiful abbey  church. 

During  the  short  reign  of  Edward  VI, 
the  Roman  Rite,  at  first  adapted  by  in- 
serting a  new,  section,  in  the  English  lan- 
guage, for  the  ritual  preparation  of  com- 
municants was  translated  into  English 
and  simplified;  and  in  1550,  by  order  of 
the  King  and  council,  an  'attempt  was 
made  to  do  away  with  the  rich  vestments, 
altar  cloths  and  the  beautiful  illuminated 
missals.  A  little  later,  the  stall  and  pul- 
pit cloths  and  the  altar  plate  of  gold  and 
silver  that  remained  were  seized  and  de- 
stroyed. 

In  1550,  the  bishopric  of  Westminster 
was  suppressed  and  has  never  been  re- 
vived. Thirlby  passed  on  to  Norwich. 
The  young  king  Edward  VI  died  in  1553, 
and  the  Roman  Catholic  Queen  Mary,  his 
sister,  the  only  child  of  Henry  VIII  and 
Catherine  of  Aragon  came  to  the  throne. 
But  the  bishopric  and  the  cathedral  dig- 
nity had  already  gone  from  Westminster 
for  three  years. 

The  fourth  chapter  of  the  Abbey's  hls- 
^    lory  as  an  establlshmen*-  Is  the  shortest. 

17 


Westminster  Abbey 

During  the  five  years  of  Mary's  reign 
(1553-1558),  the  old  monastic  rule  and 
establishment  were  revived:  the  resident 
clergy  dismissed;  the  Roman  mass  was 
now  restored  by  Queen  Mary  and 
was  celebrated  for  the  first  time 
m  many  years,  in  November,  1554,  in  the 
presence  of  Mary  and  Philip.  Later,  in 
the  same  month,  in  the  stately  old  West- 
minster Hall,  occurred  "the  solemn  recon- 
ciliation of  the  English  church  and  nation 
with  the  see  of  Rome,"  so  enthusias- 
tically received  at  the  time,  but  of  brief 
duration.  John  Howman,  of  Worcester- 
shire, a  ruddy,  round-faced  affable  man 
from  the  Forest  of  Feckenham,  the 
Queen's  confessor,  was  made  abbot  over 
thirteen  monks,  and  Dec.  6,  1555,  went  in 
solemn  procession  to  the  old  Abbey  In 
the  midst  of  a  great  company  and  was  con- 
secrated to  his  high  oflice. 

The  zealous  and  faithful  queen,  whose 
revenues  were  not  large,  endeavoured  to 
restore  the  Confessor's  shrine  and  sent  her 
personal  jewels  to  adorn  it,  but  it  had  been 
too  seriously  mutilated  for  successful  re- 
storation. The  Confessor's  body  was  dis- 
interred from  its  place  of  concealment  and 
the  Queen  caused  a  solemn  procession 
"with  goodly  singing  and  censing,"  to  be 
made  through  the  cloister  with  the  holy 

18 


The  Founding  of  the  Abhey 

relics,  and  they  were  reverently  deposited 
in  the  old  shrine. 

This  was  in  April,  1557.  In  August  of 
the  following  year,  Anne  of  Cleves,  the 
repudiated  wife  of  Henry  VIII,  died,  and 
by  Mary's  order  her  funeral  was  cele- 
brated in  the  Abbey  with  much  pomp,  the 
bishop  and  Feckenham  in  his  mitre  attend- 
ing. Three  months  later,  Queen  Mary  died, 
and  her  burial  service  was  the  last  ever 
conducted  in  the  Abbey  according  to  the 
Roman  ritual.  The  story  of  the  restored 
monastery  concludes  with  the  life  of  Queen 
Mary.  The  monks  and  their  abbot  de- 
parted, never  to  return,  so  far  as  we  can 
see. 

When  the  powerful  Queen  Elizabeth, 
Mary's  sister,  the  cbi.ld  of  Anne  Boleyn 
and  Henry  VIII  came  to  the  throne  in 
1558,  the  monastery  was  displaced,  as 
has  been  said;  all  the  stone  altars  of  the 
church  were  destroyed  and  the  estabhsh- 
ment,  the  furnishing  and  vestments  col- 
lected with  such  reverent  care  and  devotion 
by  the  late  queen  vanished  from  the  place. 
The  establishment  was  now  once  more 
and  finally  refounded  with  the  title  The 
Collegiate  Church  of  St.  Peter  at  West- 
minster, which  is  its  official  title  today,  the 
charter  being  dated  in  1560.*  For  nearly 
*A  curious  discovery  has  recently  been  made  by 
19 


Westmimter  Ahbey 

a  year  after  the  dissolution  there  was 
neither  dean  nor  abbot  at  Westminster. 

The  new  official  staff  in  this  fifth  chap- 
ter of  the  Abbey  history  included  a  dean 
and  twelve  prebendaries:  and  the  English 
prayer  book  was  revised:  the  altars  in 
Henry  VIFs  chapel  torn  down  and  their 
stones  heaped  upon  Queen  Mary's  grave 
in  the  north  aisle.  The  services  which 
were  now  inaugurated,  however,  differed 
little,  in  their  frequency  and  seasons,  from 
those  of  the  monastic  establishment,  the 
prebends  rising  for  morning  service  at  six 
o'clock. 

The  Westminster  School,  having  early 
and  intimate  connection  with  the  monastery 
and  church  for  centuries,  was  now,  in  1560 
founded  or  more  properly  refounded, 
and  a  part  of  the  monks'  dormitory  was 
adapted  for  a  school-room.  In  1563,  the 
queen  rode  in  state  to  a  service  with  ser- 
mon at  the  Abbey,  entering  at  the  north 
transept  door,  going  out  by  way  of  the 
south  transept  to  open  her  second  Parlia- 
ment in  the  Painted  Chamber  of  the  old 
palace  across  the  way. 

Many     vicissitudes     but     no     radical 

some  members  of  the  chapter  at  Westminster,  from 
which  it  appears  that  these  charters  were  never 
signed  by  the  Queen,  though  she  had  intended  to 
sign  them.  This  may  give  rise  to  interesting  devel- 
opments. 

20 


The  Founding  of  the  Abbey 

changes  have  occurred  in  the  establish- 
ment of  the  Collegiate  Church  of  St. 
Peter  at  Westminster,  since  the  days  of  its 
refounding  by  Queen  Elizabeth.  It  stands 
today  as  a  collegiate  church,  with  the 
proud  distinction  of  a  Royal  Peculiar,  un- 
der the  direct  patronage  of  the  reigning 
sovereign  and  is  still  exempt  from  all  epis- 
copal jurisdiction.  The  dean  is  still  its 
chief  officer,  lives  in  the  old  home  of  the 
abbots  in  the  cloister,  and  is  responsible 
only  to  the  sovereign  who  appoints  him. 
The  chapter  meets  in  the  Jerusalem  Cham- 
ber. 

Each  of  the  five  chapters  of  its  his- 
tory, so  briefly  sketched  here,  might 
easily  be  expanded  to  fill  a  volume  of 
no  inconsiderable  size.  Indeed,  the  sub- 
ject is  well  nigh  inexhaustible  since 
nearly  all  the  important  changes  in  the 
English  Church  and  State  have  touched,  at 
some  point,  on  our  Abbey's  history.  If 
no  direct  material  changes  in  fabric  or  gov- 
ernment are  to  be  recorded  of  any  parti- 
cular period,  we  are  certain  to  find  in  some 
aisle  or  chapel,  the  tombs  of  those  whose 
names  were  vitally  important  to  the 
nation  at  that  time,  and  it  may  be  said 
truthfully  that  the  history  of  the  Abbey, 
since  the  Confessor's  time,  is  almost  an 
epitome  of  English  history. 

21 


CHAPTER  II 

THE     SAXON     CHURCH  —  THE 
NORMAN    CHURCH    OF    ED- 
WARD THE  CONFESSOR 

"How  amiable  are  Thy  tabernacles,  O  Lord  of  Hosts" 

The  story  of  the  building  of  the  West- 
minster abbey  church  carries  us  far  back 
in  English  history  into  the  dark,  forgotten 
days  of  the  Saxon  monastery,  probably 
founded,  as  we  have  seen,  about  the  year 
740.  The  earliest  church  of  this  Saxon 
monastery  was  presumably  simple  and  un- 
pretending: its  monks  lived  in  log  huts, 
we  are  told,  and  the  church  structure  could 
hardly  have  been  luxurious.  It  would  be 
as  rich  in  equipment,  in  furnishings,  vest- 
ments and  decorations  as  was  possible  at 
the  period  since  the  tradition  that  the  best 
was  to  be  devoted  to  the  church  was  no 
less  forceful  then  than  at  a  later  period  In 
ecclesiastical  history.  But  all  that  is  to 
be  said  concerning  this  church  lies  wholly 
within  the  domain  of  tradition  and  legend. 
The  later  Saxon  church  which  Edward 
the  Confessor  found  standing  here  in 
1042,  when  he  was  made  king  of  Eng- 

22 


The  Saxon  Church 

land,  is  also  little  known  to  us.  It  was 
evidently  of  considerable  size  since  it  con- 
tained   a    famous    organ    so    large    that 


A    MEDI.^VAL   CHURCH    ORGAN 

seventy  strong  men  were  required  to  keep 
its  bellows  in  action,  "miilto  et  sudore  ma- 
dentes,"  and  a  contemporary  poem  de- 
scribes its  vigourous  action.* 

That  the  church  was  in  a  fair  state  of 
repair  at  this  time  is  evident,  since  a  part 
was  left  standing  to  be  used  by  the  monks 
while  the  new  Norman  church  was  in  prog- 
ress. There  was  also  a  second  Saxon  church 
here,  St.  Margaret's,  on  the  site  of  the 
present  cloister,  which  the  Confessor 
caused  to  be  pulled  down  and  another 
erected  in  its  stead  near  the  north  transept, 
later  rebuilt  as  we  see  it  today. 

While  nothing  is  known  of  the  particu- 
lar Saxon  church  which  preceded  West- 

*"Et  rugiat  plcno  capsa  referta  sinu. 
Solo  quadragintas   quae  sustinet   ordine   musas." 

23 


Westminster  Ahhey 


minster  Abbey,  the  land  was  rich  in  other 
Saxon  churches,  very  many  portions  of 
which  remain  today  and  exhibit  strong  ma- 
sonry, noble  towers,  well-built  and  stately, 
as  at  Earl's  Barton:  good  ornament,  as  the 
balusters  at  St.   Albans,   at  Jarrow   and 


*:"a 


EARL  S   BARTON   TOWER — SAXON 

Monks'  Wearmouth;  and  dignified  if  not 
ample  proportions.  In  Norfolk  alone, 
there  were  243  churches,  so  early  as  1086 
and  in  Suffolk,  364,  a  large  number  of 
which  must  have  been  built  in  the  Saxon 
manner. 

The  Norman   church  of  Edward  the 
Confessor   (1050-1065),  which  preceded 

24 


The  Sawon  Church 

the  present  Early  English  structure  was  a 
stately,  imposing  stone  building,  scarcely 
less  splendid  (at  least  in  proportion  and 
design),  than  the  present  Abbey,  and  en- 
tirely unlike  any  heretofore  existing  in 
England.  As  the  first  Norman  church  in 
the  country,  it  marked  a  new  era  in  the 
history  of  ecclesiastical  architecture  and  at- 
tracted attention  and  imitation  throughout 
the  land.*  And  while  the  architecture  of 
this  early  period  compared  with  the  richly 
ornamented  structures  of  the  later  Nor- 
man appears  plain  and  almost  rude,  yet 
to  erect  a  large  stone  church  and  the  build- 
ings necessary  to  a  monastic  establishment, 
on  a  new  design,  and  within  fifteen  years, 
was  a  notable  and  hitherto  unparalleled 
achievement  in  the  history  of  English 
architecture. 

The  history  of  the  building  by  the  last 
Saxon  and,  in  a  very  real  sense  (since  his 
mother  was  Norman  and  he  was  reared 
in  Normandy) — the  first  Norman  king, 
reads  like  a  chronicle  of  a  mediaeval  ro- 
mance. And  in  order  to  comprehend 
what  Westminster  Abbey  stands  for  to- 
day, and  by  what  steps  it  has  attained  its 

*Matthew  of!  Paris  writes  of  "the  church  which 
the  King  constructed  in  the  new  manner  of  composi- 
tion from  which  many  of  those  afterwards  con- 
structing churches  taking  example,  had  imitated  it  in 
costly  expenditure." 

25 


Westminster  Abbey 

present  state,  we  should  know  something 
more  than  the  mere  facts  of  its  inception 
and  completion:  something  more  than  how 
the  stones  were  laid,  the  arches  reared, 
the  columns  carved  and  the  aisles  vaulted. 
Something  should  be  learned  of  the  foun- 
der's personality  and  history,  his  friends, 
his  education,  his  environment,  his  ideals. 

In  a  contemporary  life  of  Edward 
the  Confessor,  Harleian  Mss.,  we  read 
that  "The  devout  king  destined  to  God  that 
place,  both  for  that  it  was  near  unto  the 
famous  and  wealthy  city  of  London  and 
also  had  a  pleasant  situation  amongst  fruit- 
ful fields  lying  round  about  it,  with  the 
principal  river  running  hard  by,  bringing 
in  from  all  parts  of  the  world,  great  var- 
iety of  wares  and  merchandise  of  all  sorts 
to  the  city  adjoining;  but  chiefly  for  the 
love  of  the  Chief  Apostle,  whom  he  rever- 
enced with  a  special  and  singular  affec- 
tion." 

The  name  of  Edward  the  Confessor  is 
indissolubly  connected  with  Westminster 
Abbey,  for  not  only  did  he  build  and  re- 
establish the  ravaged  monastery  and  sup- 
ply the  monks  with  noble  buildings,  but  his 
tomb  and  shrine,  and  the  story  of  his 
canonization,  miracles  and  translation  have 
served  for  centuries  to  keep  his  memory 
fresh  in  the  minds  of  English  people,  and 
indeed,  of  Christendom. 
26 


The  Saxon  Church 

In  order  to  comprehend  the  full  mean- 
ing, one  might  almost  say  the  mystery  of 
Westminster  Abbey,  we  must  retrace  our 
steps  to  the  year  1002.  In  that  troubled 
period  of  English  history,  when  the  Danes 
were  harrying  the  land,  burning,  pillaging, 
slaughtering.  King  Ethelred  the  Unready, 
son  of  the  peaceful  Edgar,  having  again 
and  again  bought  off  the  fierce  foe  whom 
he  lacked  power  to  conquer,  endeavoured 
to  strengthen  himself  by  an  alliance  with 
the  powerful  Dukes  of  Normandy,  and 
won  in  marriage  the  beautiful  Emma,  sis- 
ter of  the  reigning  Duke,  Richard  the 
Good,  and  in  1004,  Queen  Emma  gave 
birth  to  the  Prince,  who  ever  after  his 
canonization  in  1163,  was  known  as  Ed- 
ward the  Confessor.  By  this  linking  of 
England  with  Normandy,  the  road  was 
first  opened  to  the  English  territory,  a 
road  which  William  the  Conqueror,  grand- 
son of  Richard  the  Good,  travelled  with 
conspicuous  success  about  a  half  century 
later.* 

In  10 1 3,  when  Edward  was  but  nine 
years  old,  the  country  being  still  harassed 
and  nearly  conquered  by  the  Danes,  King 
Ethelred  sent  his  queen  and  their  two  sons, 

*It  must  be  stated,  however,  that  so  early  as  the 
fourth  century  emigrants  from  Wales  had  come  to 
Brittany  and  that  there  was  frequent  intercourse 
between  the  churches  of  England  and  those  of  Brit- 
tany during  the  fifth  and  sixth  centuries. 

27 


Westminster  Abhey 

Edward  and  Alfred,  to  the  Norman  court, 
to  the  kindly  protection  and  guardianship 
of  the  queen's  brother,  Duke  Richard. 
Four  years  later,  in  1017,  soon  after  the 
death  of  Ethelred,  Queen  Emma  married 
King  Canute  and  returned  to  England:  but 
her  sons  remained  in  Normandy.  Alfred, 
invited  to  visit  England  in  1036,  was 
cruelly  murdered  at  the  instigation  of  Earl 
Godwin:  Edward,  in  1042,  after  nearly 
thirty  years  of  Norman  life,  was  sum- 
moned to  England  as'  its  king.  To  this 
long  period  of  his  life  in  Normandy,  and 
not  to  the  brief  space  of  his  early  life  in 
England,  we  must  look  for  those  influences 
which  formed  his  character. 

At  his  uncle's  court  in  Rouen,  far  from 
being  in;  painful  exile,  he  was  a  favoured 
guest  and  his  education  provided  for  in  the 
most  liberal  manner.  He  seems  to  have 
been  sent  early  to  the  noble  abbey  of 
Jumieges  on  the  Seine,  not  far  from 
Rouen,  of  which  the  Norman  dukes  had 
ever  been  generous  patrons,  renowned  for 
centuries,  for  its  schools  of  learning. 
While  the  wealthy  Norman  nobles  could 
find  no  choicer  place  for  the  education  of 
their  sons,  the  poor  were  also  received 
here   and  generously  cared   for.*     Here, 

*At  Jumieges,  "the  ancient  sanctuary  of  religion 
and  learning,"  it  was  the  custom  to  pray  especially 
for  those  who  had  given  books  to  the  monastic 
library. 

2S 


The  Sanson  Church 

in  the  society  of  learned  monks  who  were 
devoted  with  singular  affection  to  their 
beautiful  monastery,  young  Edward,  at  an 
impressionable  age,  received  that  conven- 
tual training  which  so  powerfully  in- 
fluenced his  after  life  and  developed  those 
qualities  which  fitted  him  rather  for  the 
cloister  than  for  the  throne.     In  a  French 


THE   NORMAN   CHURCH   FROM   THE 

BAYEAUX    TAPESTRY 

(The    hand    of    God    indicates    to    the    funeral   procession  whicb 

follows,  the  place  where  the  Confessor  is  to  be  buried) 

poem  of  the  period*  he  tells  us  that  his 

life  was  greatly  influenced  by  a  monk  of 

remarkable  piety.    Theodoric  of  Mathon- 

ville  was  at  this  time,   in  charge  of  the 

novices    at    Jumieges.      Vitalis    describes 

him    with    enthusiasm    as    well-versed    in 

Scripture,  zealous  in  forming  the  character 

of  the  novices,  deservedly  beloved  by  his 

superiors  and  all  the  convent,  and  records 

that  his  sweet  voice,  his  courteous  manners, 

*Roman  de  Ron. 

29 


Westminster  Ahhey 

his  vigils  and  fastings  deeply  Impressed 
the  community  and  that  "both  by  words 
and  works  he  pointed  out  the  way  of  true 
religion  to  those  over  whom  he  was  set  in 
the  school  of  Christ."  And  It  may  v/ell 
have  been  this  Theodoric  to  whom  the 
Confessor  was  so  deeply  indebted.* 

In  order  to  understand  the  Confessor's 
passion  for  the  church,  It  is  necessary, 
also,  to  understand  the  religious  sentiment 
which  prevailed  in  Normandy  at  this 
period.  Rollo  the  Viking  with  his  wild 
horde  had  swept  down  over  the  north  land 
of  that  which  we  today  call  France,  to 
pillage  and  destroy,  a  little  more  than  a 
century  before  Edward  came  to  Nor- 
mandy. He  was  soon  after  converted  and 
baptized,  and  straightway  began  to  re- 
pair the  many  injuries  which  he  had  In- 

*It  is  a  curious  and  interesting  story  recorded  by 
Norman  chroniclers  that  at  this  abbey  of  Jumieges 
Edward  first  received  the  idea  of  giving  the  English 
kingdom,  if  he  should  ever  receive  it,  to  the  Dukes 
of  Normandy.  Tablets  on  the  abbey  w^alls  recited  at 
length  the  praises  of  Richard  and  other  Norman 
nobles  who  had  contributed  munificently  to  the  build- 
ing and  support  of  the  monastery:  and  it  is  said  that 
these  were  constantly  impressed  on  the  English 
prince's  mind  by  the  monks  and  aroused  in  him  a 
feeling  of  deep  gratitude  to  those  who  had  so  gen- 
erously cared  for  him,  in  court  and  cloister,  during 
his  years  of  exile,  so  that  it  seemed  to  him  almost 
his  first  duty  to  bequeath  the  English  throne  to  the 
young  William,  who  was  sixteen  years  of  age  when 
Edward  came  to  his  throne. 

30 


The  8a<von  Church 

flicted  on  churches,  to  rebuild,  refound  and 
build  anew.  Rollo's  immediate  successors, 
the  dukes  of  Normandy,  continued,  in  the 
same  spirit,  to  cherish  and  encourage  the 
ecclesiastical  welfare  of  the  new  land,  won 
after  hard  fighting.  In  the  early  years  of 
the  eleventh  century,  a  fervent  zeal  for 
church  building  and  for  founding  monas- 
teries spread  throughout  Normandy.  The 
long-dreaded  year  looo,  predicted  as  that 
in  which  the  world  should  come  to  an  end, 
had  passed  safely  away  and  a  wholesome 
desire  for  ensuring  their  spiritual  welfare 
no  doubt  influenced  many  of  the  church 
builders  of  the  period.  The  monastery 
expressed,  to  the  Norman,  the  highest 
ideal  of  religious  life:  and  when  to  the 
monastery  was  attached  a  secular  school, 
the  union  of  religion  and  education 
was  so  highly  esteemed  that  "it  was  al- 
most as  respectable  to  be  a  monk  as  to  be 
a  soldier:  and  a  Norman  noble  of  that  age 
thought  that  his  estate  lacked  its  chief 
ornament  if  he  failed  to  plant  a  colony  of 
monks  in  some  corner  of  his  possessions." 
A  great  number  of  monasteries  were  thus 
founded  in  the  eleventh  century,  and  all 
along  the  Seine,  from  Rouen  to  the  Eng- 
lish Channel,  there  was  almost  a  contin- 
uous series  of  such  establishments. 

The   Court   of   Richard  the   Good  to 

31 


Westminster  Ahhey 

which  the  young  Edward  had  come  in 
1013,  was  one  of  the  most  powerful  in 
France.  The  Duke  himself  was  a  gentle, 
knightly  man  distinguished  for  his  kind- 
ness and  courtesy:  and  must  have  exercised 
a  powerful  influence  on  the  character  of 
his  young  nephew.  He  would  have  none 
about  him  but  gentlemen.* 

He  was  a  friend  to  the  poor,  a  father  to 
the  monks.  He  devoted  much  time  to  the 
rearing  of  churches  and  monasteries  and 
so  famous  were  his  love  of  art  and  his 
success  in  church  building  that  ecclesias- 
tics of  such  high  degree  as  bishops  and 
abbots  came  to  consult  him  even  from 
distant  Greece  and  Armenia,  and  to  see  his 
churches.  In  1020,  when  the  Confessor 
was  a  lad  of  sixteen,  the  Duke  began  to 
build  the  stately  church  of  Mont  St. 
Michel:  he  rebuilt  the  cathedral  church  of 
Rouen  in  which  Rollo  had  been  baptized: 
St.  Ouen  and  St.  Michael's  in  the  same 
city  were  under  his  beneficiary  care:  Fe- 
camp, which  his  father  had  founded  and 
where  he  lay  buried,  the  Duke  augmented 

*"Gentil  furent  le  capelain, 
Gentil  furent  li  Seneschal, 
Gentil  furent  le  Mareschal, 
Gentil   furent  Despensier. 
Li  Chamberlene  li  Ussier, 
Furent  tuit  noble  chevalier." 

(Roman  de  Rou.) 

32 


The  Sawon  Church 

and  protected  and  here  he  often  resorted, 
sometimes  alone,  passing  whole  nights  in 
prayer,  sometimes  with  his  sons,  and  no 
doubt  his  nephew,  and  with  them  waited 
humbly  on  the  monks  at  dinner.  Here  he 
repaired  the  last  year  of  his  life  and  here 
he  died  and  was  buried.  He  restored  the 
abbey  of  Fontenelles,  now  called  St.  Wan- 
drille :  and  Cerisy-la-Foret  was  under  his 
protection:  he  gave  largely  to  the  rebuild- 
ing of  Chartres.  But  Jumieges  was  perhaps, 
the  first  care  of  the  Norman  dukes.  The 
wife  of  Richard  the  Good,  Judith  of  Brit- 
tany, was  equally  interested  with  her  hus- 
band, in  ecclesiastical  establishments  and 
had  herself  founded  a  great  abbey  for 
Benedictines  at  Bernay. 

In  the  atmosphere  of  such  a  court,  the 
English  prince  would  naturally  become  im- 
bued with  the  sentiments  which  controlled 
the  hearts  of  his  powerful  relatives.  As 
a  man  of  naturally  fine  tastes,  of  deep 
religious  feeling  and  of  learning,  he  must 
have  become  interested  in  the  architecture 
of  the  many  churches  then  rising  in  Nor- 
mandy: and  particularly,  during  the  last 
few  years  of  his  life  there,  in  the  Abbey  of 
Jumieges  (from  which,  it  is  said,  his  heart 
was  never  long  absent),  then  being  re- 
built in  very  stately  fashion.  Robert  of 
Champert  (usually  called  Robert  of  Jumie- 

33 


Westminster  Ahbey 

ges),  formerly  Prior  of  St,  Ouen,  a  man  of 
conspicuous  strength  and  ability,  and  a 
close  friend  of  Edward,  had  become  Abbot 
of  Jumieges  in  1037,  and  almost  at  once 
began  to  rebuild  its  church.  The  plan 
and  details  of  the  project  which  must  have 
been  dear  to  both,  would  naturally  form 
the  subject  of  frequent  consideration  be- 
tween these  two. 

Soon  after,  in  1042,  while  the  Jumieges 
church  was  still  in  progress,  the  exiled 
prince  was  summoned  to  the  throne  of 
England,  with  all  his  Norman  tastes  and 
sympathies,  all  his  Norman  learning  and 
training,  all  his  memories  of  the  Norman 
churches  and  monasteries  which  he  had 
seen  rising  from  their  foundations  or  al- 
ready completed,  and  was  at  once  thrown 
into  the  midst  of  a  people  foreign  to  all 
his  tastes,  though  his  own  by  birth.  All 
about  him  were  the  sturdy  Saxon  churches 
of  the  earlier  day.  He  had  promised  that 
he  would  not  surround  himself  with  for- 
eigners, but  he  soon  decided  to  have  with 
him,  "to  guide  him  in  his  councils,"  his  old 
friend,  Robert  of  Jumieges,  whom  he  made 
Bishop  of  London,  and,  a  few  years  later 
in  105 1  Archbishop  of  Canterbury:  and 
it  was  said  that  whatever  Robert  thought, 
even  If  he  thought  a  black  crow  white,  so 
did  the  king  think.     From  1043  to  1052, 

34 


The  Saxon  Church 

he  lived  as  the  intimate  friend  and  ad- 
viser of  the  newly-crowned  king.* 

Not  long  after  his  coming  to  England, 
the  new  king  began  to  contemplate  the 
building  of  a  church  in  honour  of  St.  Peter : 
perhaps,  finding  himself  in  a  position  of 
power  for  the  first  time,  and  his  sympa- 
thies being  warmly  church-ward,  he  de- 
sired to  emulate  the  great  enterprises  with 
which  he  had  become  familiar  In  the  land 
of  his  adoption.  His  palace  in  London 
was  close  by  the  old  Saxon  Abbey  of  St. 
Peter's:  he  would  naturally  be  Interested 
in  its  life.  Edwin  the  abbot,  a  man  of 
great  piety,  soon  became  his  intimate 
friend  and  the  king  often  sent  for  him  in 
his  private  hours.  But  the  reason,  usually 
assigned  for  his  desire  to  build  a  new 
church  at  this  time,  is  that  it  was  in  con- 
sequence of  a  vow  that  if  he  were  restored 
to  his  throne,  he  would  make  a  pilgrimage 
to  St.  Peter's  at  Rome.  When  he  would 
fulfill  his  vow,  his  barons  strenuously  ob- 
jected. They  set  forth  the  perils  of  so 
great  a  journey,  the  mountain  passes,  the 
sea,  and  especially,  the  danger  of  leaving 

*Robert  yearly  sent  over  to  Jumieges  a  part  of 
his  revenues :  and  later,  William  the  Conqueror  en- 
dowed it  with  an  English  estate,  the  Isle  of  Helling 
in  Norfolk,  which  brought  a  rent  of  eleven  hundred 
gold  crowns:  and  Abbot  Gonthard  of  Jumieges  was 
William's  physician.  Robert  began  to  sign  as 
Bishop  of  London  in  1046. 

35 


Westminstei'  Ahhey 

his  country  to  the  invasion  of  enemies.  An 
embassy  was  accordingly  sent  to  the  Pope, 
and  the  king  was  absolved  from  his  vow 
on  condition  that  he  found  or  else  refound 
a  monastery  in  the  name  of  St.  Peter. 

While  considering  how  best  to  meet  this 
condition,  and  where  he  should  build  his 
church,  St.  Peter  himself  is  said  to  have 
appeared  to  a  saintly  hermit  named  Wul- 
fine,  with  this  message:  "The  name  of  the 
place  is  Thorney,  which  once,  for  the  sins 
of  this  people,  being  given  to  the  fury  of 
barbarians,  from  being  rich  became  poor: 
from  being  stately,  low:  from  honourable, 
it  became  contemptible.  This  let  the  king 
by  his  command,  repair  and  make  it  a 
house  of  monks,  adorning  it  with  stately 
towers  and  endow  it  with  large  reve- 
nues."* 

Obedient  to  the  vision,  /the  new  king 
began  to  refound  the  Abbey  and  to  build 
here  a  noble  church.  The  actual  building 
seems  to  have  been  undertaken  in  1050, 
but  the  demolition  of  the  old  Saxon  church 
must  have  preceded  it  since  the  new  church 
was  on  the  site  of  the  old  one,  but  a  little 
to  the  east.  Only  a  part  of  the  old  church 
was  at  first  removed,  the  western  bays  be- 
ing retained  for  the  use  of  the  monks  dur- 

*Ailred's  Life  of  Edward  the  Confessor,  in  Twys- 
den's  Scriptores  X. 

36 


The  Saxon  Church 

ing  the  rebuilding.  The  King  at  once  made 
an  inventory  of  all  his  possessions  and  de- 
voted the  value  of  one-tenth  to  the  new 
work,  a  generous  gift  when  it  is  remem- 
bered that  he  had  remitted  the  Danegelt, 
(a  tax  whereby  the  Danes  had  been  ap- 
peased), which  formed  a  large  proportion 
of  an  English  sovereign's  wealth  at  this 
time. 

"Now  he  laid  the  foundations  of  the  church 

With  large  square  blocks  of  grey  stone: 

Its  foundations  are  deep, 

The  front  towards  the  east  he  makes  round, 

The  stones  are  verj'-  strong  and  hard: 

In  the  centre  rises  a  tower, 

And  two  at  the  western  front, 

And  fine  and  large  bells  he  hangs  there: 

The  pillars  and  entablature 

Are  rich  without  and  within, 

At  the  bases  and  the  capitals 

The  work  rises  grand  and  royal. 

Sculptured  are  the  stones 

And  storied  the  windows. 

He  makes  there  a  cloister 

A  chapter  house  in  front 

Towards  the  east,  vaulted  and  round." 

The  monastic  buildings  seem  to  have 
been  completed  in  1061,  and  late  in  the 
year  1065,  the  church  itself  was  finished 
"from  the  apse  to  the  west  front."  The 
King  endowed  the  foundation  with  many 
fair  villages,  including  Pershore  in  Wor- 
cestershire, and  with  rich  manors  and 
lands,  "so  that  the  place  will  never  know 
want  if  things  are  managed  honestly."* 
*Roman  de  Ron. 

37 


Westminster  Abbey 

The  King  also  granted  the  Abbey  a  charter 
of  privilege,  and  in  order  to  give  the  char- 
ter especial  sanctity,  sent  it  to  Rome  in 
charge  of  four  ambassadors,  Aldred,  Arch- 
bishop of  York:  Tostig,  son  of  Earl  God- 
win: Walter,  Bishop  of  Hereford,  and 
Giso,  Bishop  of  Wells,  to  obtain  the  papal 
Bull  of  confirmation  from  Nicholas  II. 

It  is  of  much  interest  to  note  that  the 
credentials  included  a  request  that  the  new 
church  "as  a  place  appropriate  for  the 
inauguration  of  our  kings  as  well  as  to 
render  it  perpetual  for  the  monks  of  the 
order  of  St.  Benedict  should  be  subject  to 
no  jurisdiction  but  that  of  the  king."  And 
in  response  to  this  request,  the  Bull  issued 
by  the  pope  "discharged  the  monastery 
from  all  episcopal  authority  and  visitation 
and  also  set  it  apart  for  a  burial  ground 
which  may  be  exempt  from  the  payment  of 
the  usual  dues;  and  appointed  the  king  to 
be  the  patron  of  the  Abbey." 

Thus  Westminster  has  been  a  Royal 
Peculiar  from  the  first,  and  its  unusual 
position  in  the  diocese  is  as  old  as  the  Con- 
fessor's time. 

The  church  was  complete,  as  Sulcard, 
writing  soon  after,  says,  "to  the  very 
porch,"  in  1065,  and  extensive  prepara- 
tions had  been  made  for  its  dedication  on 
Holy  Innocents  Day,  December  28th.  The 

38 


L) 


W 


'A 


The  Sawon  Church 

King  and  Queen  had  prepared  very  choice 
and  rich  gifts:  gold  and  silver  plate  for 
the  altars,  beautiful  vestments  of  silk, 
some  embroidered  by  the  Queen's  hand, 
for  the  priests,  and  jewels  and  many 
relics,  all  carefully  brought  together  and 
arranged  by  the  King's  own  white  hands 
for  the  day  to  which  he  had  eagerly  looked 
forward. 

For  the  convenience  of  the  King  and  his 
nobles,  the  Midwinter  Gemot  had  been  ap- 
pointed to  meet  at  Westminster  instead  of 
Gloucester,  as  had  been  the  custom,  and 
arrangements  had  been  made  for  splendid 
festivities  in  church  and  palace.  But  the 
spirit  of  the  King  had  been  greatly  per- 
turbed at  this  time,  by  the  revolt  in  North- 
umbria  against  the  oppressions  of  Tostig, 
and  he  was  weighed  down  with  sorrow. 
In  October,  we  are  told,  his  soul  was  sick 
and  weary  and  as  the  weeks  went  on,  he 
became  very  ill.  Yet  he  bravely  made  a 
struggle  to  fulfill  his  duties:  wore  his 
heavy  royal  robes  and  his  crown,  in  state 
on  Christmas  day,  according  to  custom, 
and  presided  at  other  festivities  on  the  two 
following  days. 

On  Holy  Innocents  Day,  appointed  for 
the  dedication,  he  could  no  longer  endure 
his  pain  and  weariness.  Feebly  he  gave 
directions  to  Queen  Editha  and  bade  his 

39 


Westminster  Ahhey 

nobles  and  all  those  assembled  at  his  court 
to  proceed  to  the  Abbey  and  the  Queen  to 
take  his  place  in  the  solemn  ceremonies. 

A  few  days  later,  January  5,  1066,  the 
King  breathed  his  last,  "The  sound  of  the 
workman's  hammer  had  hardly  ceased,  the 
voice  of  the  consecrating  prelate  was 
hardly  hushed  into  silence  before  the 
church  of  the  Apostle  was  put  to  the  lofty 
purpose  for  which  it  was  designed.  Before 
the  Christmas  festival  was  over,  it  beheld 
the  funeral  rites  of  its  founder,  the  corona- 
tion rites  of  his  successor.  The  days  of 
the  Holy  Season  were  not  yet  accomplished 
the  Witan  of  England  had  not  yet  departed 
to  their  homes,  when  the  last  royal  son  of 
Woden  was  borne  to  his  grave."*  The 
Norman  Church,  so  long  the  object  of  his 
thoughts  and  prayers,  was  completed,  but 
the  devout  king  did  not  live  to  hear  even 
a  single  mass  celebrated  within  its  walls. 

So  the  church  was  made  ready.  What 
remains  today  of  the  stately  structure, 
erected  with  such  care  and  pains,  intended 
for  centuries  of  usefulness,  designed  from 
the  finest  architectural  model  of  the 
period?  To  what  part  of  the  present 
Westminster  Abbey  shall  we  go  in  order 
to  gain  some  idea  of  this  famous  work  of 
a  famous  English  king?   It  seems  scarcely 

*Freeman's  Norman  Conquest. 
40 


The  Saxon  Church 

credible  that  the  answer  to  this  question 
must  be,  that,  literally,  not  one  stone  re- 
mains upon  another,  above  ground,  of  the 
church  itself,  though  considerable  remains 
of  the  monastic  buildings  appear  here  and 
there.  Choir  and  nave  and  vaulted  aisle, 
chapels  and  altars,  lofty  towers  and  sound- 
ing bells,  storied  windows  and  sculptured 
pillars  and  entablature,  all  have  vanished 
from  sight,  many  centuries  ago,  as  com- 
pletely as  if  Thorney  Island  had  never 
existed.  The  foundations  were  deep,  says 
the  poem:  the  square  blocks  of  grey  stone, 
very  strong  and  hard:  but  they  were  not 
too  strong  to  resist  the  hammers  of  Henry 
Ill's  masons.  The  present  church  rose 
where  the  Norman  Church  had  been,  state- 
ly and  fair,  but  only  slightly  reminiscent 
of  the  earlier  walls.  And  the  only  re- 
mains of  the  Confessor's  church,  down  low 
under  the  modern  altar  platform,  are  the 
bases  of  three  of  the  apse  pillars,  together 
with  a  part  of  the  curve  of  the  apse  foun- 
dation.* 

♦According  to  the  late  Mr.  Micklethwaite,  whose 
knowledge  of  the  Abbey  surpassed  that  of  an_y  living 
authority,  the  remains  of  the  Confessor's  building, 
besides  these  parts  of  piers,  were:  (i)  A  doorway 
high  up  on  the  south  face  of  the  transept;  (2)  A 
low  archway  in  the  Dark  Cloister;  (3)  Some  win- 
dows of  the  dormitory  itself  and  a  somewhat  rude 
stone  window  below;  (4)  The  Undercroft  of  which 

41 


Westminster  Abbey 

But  if  we  have  no  remains  above  ground 
of  the  old  Norman,  we  are  not  without 
indications  as  to  its  general  appearance 
and  much  of  its  detail.  So  far  as  can  be 
discovered  from  the  measurements  of  the 
remaining  portions  of  the  monastic  build- 
ings, and  from  the  descriptions  of  the  con- 
temporary chroniclers,  the  church  differed 
little  in  extent  from  that  of  today.  Its 
central  line  was  undoubtedly  the  same ;  the 
eastern  arm  of  the  cross  was  probably 
narrower,  the  transept  arm  was  shorter; 
the  width  of  the  nave  the  same,  and  the 
cloister  not  much  different. 

That  there  was  a  lofty  central  tower 
with  pinnacles,  as  at  Jumieges  and  Fecamp, 
we  know  both  from  the  Bayeux  tapestry 
and  from  a  description  in  a  Life  of  the 
Confessor  which  was  apparently  written 
immediately  after  his  death,  possibly  in  the 
same  year,  as  it  contains  no  mention  of  the 
Norman  Conquest,  and  is  dedicated  to 
Queen  Edith,  who  died  in  1075.  From 
this  we  learn  also  that  the  church  had  a 

the  chapel  of  the  Pyx,  the  best-known  part,  is  a  por- 
tion. 

In  confirmation  of  the  tradition  that  a  Temple  of 
Apollo  once  occupied  this  site,  it  may  be  stated  that 
several  Roman  fragments,  including  a  portion  of  a 
Roman  wall,  tn  situ;  a  fragment  of  a  tile  with  pat- 
tern and  some  red  mortar  made  with  powdered  brick 
were  discovered  under  the  nave  pavement  when  the 
grave  of  Lord  Lawrence  was  made. 

42 


The  Saxon  Church 

timber  roof  covered  with  lead:  two  noble 
western  towers :  a  nave  with  lofty  arches : 
a  stone  vault,  the  stones  "jointed  together 
in  the  nicest  manner" :  and  "storied  win- 
dows," perhaps  an  early  example  of  the 
use  of  stained  glass  in  England.  The 
choir  was  under  the  lantern :  the  presbytery 
had  two  bays  with  a  rounded  apse  and  an 
ambulatory.  The  piers  were  alternately 
sim'ply  and  compound,  after  the  system  so 
freely  used  at  Durham  and  in  numerous 
other  Norman  churches  of  later  date:  and 
there  seems  to  have  been  a  series  of  chapels 
in  both  stages  of  the  transept  ends,  as  in  the 
crypt  and  main  story  of  Canterbury  choir 
and  in  the  triforium  and  main  story  of 
Gloucester.  Sculptured  ornament  was  lit- 
tle used  but  the  columns  and  arches  remain- 
ing in  the  oldest  part  of  the  cloister  today 
bear  traces  of  tempera  painting  which  was 
freely  employed,  no  doubt,  for  decoration. 
The  architect  evidently  depended  chiefly 
upon  fine  proportions,  excellent  masonry 
and  painting  to  produce  results. 

So  much  we  know  concerning  the  Con- 
fessor's church  from  contemporary  de- 
scription. But  I  believe  we  may  safely  go 
further  than  this.  The  abbey  church  of 
St.  Peter  at  Westminster,  and  the  abbey 
church  of  St.  Peter  at  Jumieges,  built  at 
nearly  the   same   time    (Jumieges,    1040- 

43 


Westminster  Abbey 

1058,  and  Westminster,  1050-1065)  by 
two  men,  one  a  king  and  the  other  an 
abbot,  bound  together  in  the  closest 
friendship,  one  depending  on  the  other  for 
counsel,  both  from  the  same  monastery, 
these  two  great  churches  were  probably  of 
nearly,  perhaps  entirely,  the  same  design 
and  size,*  and  built  on  the  same  general 
plan.  This  Jumieges  abbot  was  the  inti- 
mate companion  and  advisor  of  King 
Edward  from  about  1044  to  1052  :  and  as 


PLAN  OF  THE  ABBEY  OF  JUMIEGES 

*After  careful  study  of  the  history  of  these 
churches,  Westminster  and  Jumieges,  I  had  arrived 
at  the  conclusion  that  the  latter  was  the  prototype 
of  the  former,  when  Dean  Robinson's  articles  on  the 
subject  came  to  hand  and  I  read,  "We  can  hardly 
doubt  that  Robert  of  Jumieges,  who  was  at  the  Con- 
fessor's right  hand  from  1043  to  1052,  helped  to 
determine  the  plan  of  the  King's  own  church  at 
Westminster."  Later  I  found  that  Lethaby  had 
first  expressed   this  opinion. 

44 


The  Saceon  Church 

the  two  must,  with  little  doubt,  have  fre- 
quently consulted  together  concerning  the 
building  at  Jumieges  monastery,  so  dear 
to  both,  four  years  before,  in  Normandy: 
and  as  it  was  during  these  years,  between 
1044  and  1052  that  all  the  planning  and 
the  beginning  of  Westminster  Abbey  must 
have  taken  place:  and  as  it  is  certain  that 
no  builder  of  a  Norman  church  who  could 
possibly  aid  the  king  was  at  this  time 
living  in  England,  the  natural  conclusion  is 
that  Robert  of  Jumieges  was,  to  some  con- 
siderable extent,  responsible  for  the  plan- 
ning of  Norman  Westminster:  and  that 
the  noble  Jumieges  abbey,  so  prominently 
in  the  minds  of  both  king  and  abbot,  fur- 
nished its  design  and  inspiration. 

Moreover,  since  in  the  Norman  court 
at  Rouen,  Edward  had  of  necessity  heard 
much  concerning  the  details  of  church 
building,  and  was  doubtless  well  informed 
as  to  materials,  workmen,  expenses  and 
other  important  matters,  he  would  now  be 
well  prepared  to  undertake  the  supervision 
of  a  church  building  on  his  own  account, 
especially  with  the  aid  and  advice  of  Rob- 
ert of  Jumieges.  Archbishop  Robert 
returned  to  Normandy  suddenly  and  not 
of  his  own  accord,  in  1052;  completed  the 
abbey  church  at  Jumieges  and  the  Confes- 
sor went  over  to  its  consecration  in  1058. 

45 


WesUninster  Ahhey 

Thus  he  had  every  opportunity  to  compare 
it  with  his  own  as  yet  unfinished  building. 
An  interesting  comparison  of  the 
stumps  of  the  bases  of  the  Westminster 
piers  and  those  in  a  corresponding  position 
at  Jumieges  has  recently  been  made  by 
Dean  Armitage  Robinson*  and  the  two 
sets  have  been  found  to  agree  very  closely 
in  size,  but  to  differ  slightly  in  relative  dis- 
tances from  each  other. f  From  these 
and  various  other  architectural  facts  we 
may,  perhaps,  be  warranted  in  saying  that 
in  looking  at  the  beautiful   ruins  of  the 


CAPITALS  FROM  JUMIEGES 

Abbey  of  Jumieges  on  the  Seine,  a  few 
miles  below  Rouen,  we  are  looking  at  very 
much  the  same  architecture  as  that  of  Nor- 
man Westminster. 

The  Abbey  of  Jumieges  was  regarded 

*v.  Archceologia  62:  pp. 

tExcellent  models  of  these  at  Westminster,  but 
reduced  in  size,  have  been  placed  in  the  Norman 
ITr.dercroft  in  the  cloister  for  the  inspection  of 
visitors. 

46 


The  Sa^on  Church 

as  remarkably  imposing  for  its  time,  and 
its  ruins,  while  not  extensive,  are  sufficient 
to  indicate  a  stately  and  beautiful  struc- 
ture. It  had  a  lofty  central  tower,  one 
entire  wall  of  which  remains  today  in  good 
preservation  and  tells  the  story  of  the 
whole.  It  must  have  been  of  superior 
size  and  strength  as  well  as  of  superior 
height,  as  is  the  representation  of  West- 
minster's central  tower  in  the  Bayeux  tap- 
estry. A  noble  pair  of  western  towers 
also  remain  at  Jumieges,  almost  entire, 
hexagonal  in  their  upper  stages,  lofty, 
strong,  of  exquisitely  coloured  stone,  the 
group  of  three  towers  forming  a  pictur- 
esque effect  as  they  rise  from  a  wooded 
promontory  of  the  Seine  which  suggests 
the  lofty  height  and  romantic  location  of 
Durham  cathedral.  The  Confessor's 
church,  we  remember,  had  also  central  and 
western  towers,  notable  for  height  and 
dignity.  In  both  churches  the  nave  arches 
were  supported  by  pillars  alternately  sim- 
ple and  compound,  forming  double  bays, 
as  at  Durham,  and  the  Jumieges  capitals 
were  once  painted  in  tempera,  as  in  the 
Westminster  cloister  and,  doubtless,  in  the 
church.  The  triforium  arches  at  Jumie- 
ges were  of  nearly  the  same  width  as  the 
main  arches  and  the  presbytery  had  two 
bays  and  a  rounded  apse,  as  at  Westmin- 

47 


Westininster  Abhey 

ster.  In  both,  the  short  transept  arm  had 
galleries  at  the  ends  with  chapels  in  two 
stories.  The  round  arches  remaining  at 
Jumieges  are  nobly  proportioned :  the  outer 
orders  of  each  pair  die  into  each  other  on 
their  inner  sides.  In  each  bay  of  the 
aisles  are  two  small  windows,  set  high, 
having  deeply  splayed  sills,  like  those  in 
the  Norman  cloister  of  Westminster. 
The''  triforium  has  two  large  unconnected 
arches  in  each  bay,  each  containing  three 
equal,  grouped  subordinate  arches,  the 
central  one  glazed.  No  string  course 
appears  between  the  triforium  and  cleres- 
tory and  the  latter  has  two  unconnected 
windows  in  each  bay  with  wide  splayed 
sills  but  no  mouldings.  The  two  western 
towers,  hexagonal  in  the  two  upper  stages, 
having  a  gable  between  the  two,  dis- 
tinctly suggest  the  famous  octagon  of  Ely, 
but  are  of  three  centuries  earlier  date. 
There  was  a  western  porch,  as  at  West- 
minster: the  cloister  lies  south  of  the  nave 
and  the  chapter  house  was  in  the  east 
walk,  as  usual  in  monastic  establishments. 
"A  most  surprising  structure  (Jumie- 
ges). It  is  almost  inconceivable  how  the 
Normans,  the  timid  and  hesitating  builders 
of  the  first  part  of  the  eleventh  century, 
learned  all  at  once  to  build  a  monastery 
not  only  incomparably  superior  in  design 
48 


The  Saxon  Church 

to  any  contemporary  structure  in  Europe, 
but  vaster  in  scale  than  any  edifice  which 
had  been  erected  in  the  West  since  the 
days  of  Constantine.  The  originality  of 
design  and  the  daring  of  its  execution 
remain  indisputable.  It  seems  as  if  the 
Norman  builders  had  all  at  once  become 
aware  of  their  architectural  genius  and 
had  created  at  a  breath  a  new  and  consist- 
ent style.  It  is  one  of  the  most  imposing 
ruins  that  the  Middle  Ages  has  left  us."* 
r^  As  has  been  said,  the  Norman  church 
'  of  the  Confessor  remained  standing  about 
two  centuries.  Very  great  events  which 
entirely  altered  the  face  of  English  history 
were  witnessed  by  the  old  church.  The 
burial  of  its  builder,  on  the  day  following 
his  death,  was  scarcely  over,  and  the  sound 
of  his  funeral  music  had  scarcely  died  away 
when  the  joyous  shouts  of  the  multitude 
rang  out,  "We  choose  thee,  O  Harold,  for 
lord  and  king."  And  again,  before  the 
memory  of  that  day  had  faded  away,  be- 
fore that  eventful  year  1066  had  passed 
on  to  another  Christmas  day,  Harold 
had  been  killed  at  Hastings,  and  William 
the  Norman  duke  came  to  give  thanks  for 
his  conquest  of  England,  in  this  Abbey, 
and  was  crowned  king,  standing  to  receive 

*Porter's  Mediaeval  Architecture  :  i :  254 
49 


Westminster  Abbey 

his  crown  on  the  grave  of  the  Confessor, 
whom  he  had  loved  from  his  boyhood. 

Following  William  came  his  sons,  first 
William  Rufus,  then  Henry  Beauclerc: 
then  Stephen,  a  second  Henry,  and  his  son, 
the  bad  John,  and  so  passed  a  century  and 
a  half.  And  the  Abbey  in  1220,  gently 
aging  yet  not  old,  four  years  after  the 
death  of  John,  witnessed  the  coronation  of 
his  son,  Henry  III,  then  in  his  thirteenth 
year,  and  predestined  to  pull  down  every 
stone,  large  and  small,  of  the  church  of 
his  crowning,  and  to  rebuild  it  in  a  new 
manner,  the  Early  English  Gothic. 
r~"  The  Confessor  designed  his  church  to 
be  not  only  the  church  of  a  large  monas- 
tery, but  a  place  for  royal  coronations  and 
royal  burials  as  well,  a  place  such  as  the 
Norman  dukes  planned  for  themselves  but 
on  a  smaller  scale.  He  doubtless  intended, 
also,  to  secure,  by  his  building,  substantial 
benefits  for  his  soul  and  probably  he 
thought  of  the  Abbey  as  a  future  centre  of 
national  interest. 

"His  scheme  prospered  in  his  own  time* 
and  it  has  survived  to  ours.  His  minster 
still  stands,  rebuilt  in  such  a  guise  as  to 
make  it  the  noblest  of  the  noble  churches 
of  England.  .  .  .  Within  its  walls  a 
long  procession  of  kings  have  received  the 

♦Freeman. 


The  Sa^on  Church 

crown  whose  peculiar  glory  was  to  be  the 
crown  of  Edward.  .  .  .  And  by  the 
minster  still  stands  the  palace,  no  longer, 
indeed,  the  dwelling  place  of  Kings,  but 
more  than  ever  the  true  home  of  the 
nation:  where  the  Witan  of  all  England 
still  meet  for  judgment  and  for  legislation, 
as  they  did  in  the  days  when  Edward  wore 
his  crown  at  that  last  Midwinter  Feast 
...  as  they  did  when  the  first  national 
act  done  beneath  the  roof  of  the  newly- 
hallowed  minster  was  to  place  the  crown, 
as  the  gift  of  the  English  people,  on  the 
brow  of  the  foremost  man  of  English 
blood  and  speech." 


J^i 


CHAPTER  III 

THE   EARLY   ENGLISH   CHURCH 

OF  HENRY  III— THE  PRES- 

ENT  BUILDING 

The  romance  of  Westminster  Abbey  in 
its  founding  and  its  earliest  history  still 
continues  and  is  of  equal  interest  during 
the  erection  of  the  building  which  stands 
today  as  the  work,  in  large  part,  of  its  sec- 
ond royal  benefactor,  Henry  III,  son  of 
King  John.  Edward  the  Confessor  had 
built  his  Norman  church  in  reverent  faith, 
to  the  glory  of  God  and  of  St.  Peter: 
Henry  III,  inspired  by  the  memory  of  that 
faith,  built  to  the  glory  of  the  Confessor 
as  well.  Each  of  the  two  royal  builders 
was  devout,  humble,  sincere  in  his  love  to 
the  church,  giving  it  the  first  place  in  his 
thoughts  to  the  exclusion  of  the  affairs  of 
the  kingdom  which  urgently  demanded  the 
guiding  hand  of  an  able  sovereign,  each 
coming  to  his  throne  at  a  critical  period  in 
the  history  of  England,  yet  choosing  to 
gratify  his  personal  tastes  by  church  build- 
ing, instead  of  loyally  serving  his  people. 
Henry  III  like  the  Confessor,  when  be- 
reft of  his  father,  was  practically  deserted 

S2 


Early  English  Church  of  Henry  III 

by  his  mother,  Isabella  of  Angouleme,  who 
speedily  married  her  old  lover  in  France, 
leaving  her  son  in  England  to  the  guard- 
ianship appointed  for  his  minority.  Like 
Edward,  the  third  Henry  could  not  hon- 
our tlie  memory  of  his  father,  the  unscru- 
pulous King  John. 

•Yet  from  his  guardians — the  prince  was 
but  nine  years  old  when  he  became  king — 
he  should  have  gained  excellent  prepara- 
tion for  his  high  dignity.  One  of  these 
was  Hubert  de  Burgh,  the  wise  justiciar: 
another,  William  Marshall,  Earl  of  Pem- 
broke, of  whom  it  was  said  that  none  other 
in  age,  dignity,  experience  and  faithfulness 
came  near  him.  But  the  soil  was  evidently 
poor:  the  great  Earl  lived  but  three  years 
after  accepting  his  trust,  and  what  was 
good  in  the  lad's  mind  was  diverted  and 
warped.  He  grew  up  extravagant,  vain, 
easily  flattered,  weak,  false  to  his  word, 
and  neither  admired  nor  honoured.  It 
was  said  that  greed  was  strong  in  him  and 
that  his  life  was  one  perpetual  clamour  for 
money:  yet  he  seldom  spent  large  sums  for 
his  own  personal  good:  it  was  for  the 
church:  for  the  Queen  whose  acceptance  of 
the  bachelor  King  ever  seemed  to  him  a 
condescension;  or  for  the  Queen's  relatives 
or  his  own  half-brothers.  His  motto  was 
"Qui  non  dat  quod  habet,  non  accipiet  ille 

53 


Westminster  Abhey 

quod  optat."  He  was  good-natured,  affec- 
tionate, generous,  though  often  unwisely 
so,  not  shrinking  from  dangers,  not  cruel, 
a  kind  and  a  faithful  husband,  a  devoted 
father  and  brother.  All  the  months  of 
the  year  may,  in  a  manner,  be  carved  out 
of  an  April  day,"  wrote  Fuller:  "hot,  cold, 
dry,  moist,  fair,  foul  weather  .  .  .  just 
the  character  of  this  King's  life:  certain 
only  in  uncertainty:  sorrowful,  successful, 
in  plenty,  in  penury,  in  wealth,  In  want,  con- 
quering, conquered." 

His  religious  zeal,  the  inspiring  motive 
of  the  rebuilding  of  the  Abbey,  seems  to 
have  been  genuine.  He  was  accustomed 
to  hear  three  masses  a  day,  and  at  the 
Elevation  of  the  Host  he  usually  held  the 
priest's  hand  and  kissed  it.  He  would 
often  spend  an  entire  day  in  prayer:*  he 
was  constantly  visiting  churches:  went 
often  to  St.  Albans  Abbey  and  no  sov- 
ereign made  so  many  offerings  at  the  shrine 
of  its  martyr.  When  intending  to  go  on  a 
crusade  he  remained  at  the  abbey  a  day 
and  a  night,  and  caused  the  coffin  of  St. 
Alban  to  be  brought  out  from  the  shrine 
and  placed  before  the  high  altar,  where  he 
and  his  nobles  offered  prayer  for  the  suc- 
cess   and   safe   return   of   the   crusaders. 

*Luard's    Preface    to  the    Chronicle   of   Matthew 
Paris:  Rolls  Series,  vol.  VII,  p.  xxi. 

54 


Henry  III,  from  the  Effigy  on  his 
Tomb 


Early  English  Church  of  E^nry  III 

Even  amid  the  gayeties  of  his  visits  to  the 
French  court  with  his  queen,  Matthew 
Paris  tells  us  that  he  found  time  to  see  the 
relics  of  St.  Chapelle,  where  he  prayed  and 
made  royal  gifts;  and  being  detained  on 
the  seacoast  at  Boulogne  on  his  homeward 
journey,  he  visited  the  Church  of  St.  Mary 
to  see  its  relics.  He  was  accustomed  to 
carry  with  him  on  his  journeys  costly  sacer- 
dotal garments  and  relics. 

The  King's  love  of  art  and  especially  his 
fondness  for  noble  architecture  were  con- 
spicuous throughout  his  life,  particularly  in 
his  later  years,  and  this  taste  was,  no  doubt, 
considerably  increased  by  his  marriage 
with  the  accomplished  and  art-loving 
Eleanor  of  Provence  and  by  association 
with  the  numerous  members  of  her  accom- 
plished family  who  followed  her  to  Eng- 
land. The  Queen  early  gained  a  powerful 
influence  over  the  mind  and  tastes  of  her 
husband  and  while  she  was,  no  doubt, 
responsible  for  much  of  the  reckless 
extravagance  which  so  marred  their  lives, 
she  seems  to  have  been  remarkably  sympa- 
thetic with  the  King's  love  of  architecture 
and  his  plans  for  rebuilding  the  Abbey 
church.  Her  sister,  Margaret,  was  mar- 
ried to  Louis  IX,  the  pious  King  of  France, 
a  great  devotee,  lover  of  relics  and  builder 
of  churches,  and  the  two  kingdoms  encour- 

55 


Westminster  Ahhey 

aged  each  other  in  the  cultivation  and 
expression  of  their  tastes  and  religious 
zeal. 

We  may  also  mention  the  elegant  tastes 
of  the  King's  French  half-brothers,  Wil- 
liam and  Aymer  de  Valence,  and  Guy  de 
Lusignan,  sons  of  his  mother's  second  mar- 
riage in  France,  and  the  influence  of  the 
Queen's  relative,  Peter  of  Savoy,  or  Aqua- 
blanca,  whom  the  King  made  bishop  of 
Hereford;  and  if,  as  is  said,  this  bishop 
built  the  beautiful  north  transept  of  Here- 
ford cathedral,  which  contains  architec- 
tural features  strongly  suggestive  of  West- 
minster Abbey,  it  may  well  be  that  he 
was  one  of  Henry's  advisers  in  construc- 
ting the  Abbey  church. 

The  first  immediate  inspiration  to  the 
rebuilding  of  the  Abbey  is  perhaps  to  be 
found  in  1220,  when  the  boy  king,  only 
thirteen  years  of  age,  laid  the  foundation 
stone  of  that  Early  English  chapel  at  the 
east  end  of  the  church  which  preceded  the 
present  chapel  of  Henry  VII.  Matthew  of 
Westminster  distinctly  says  that  the  King 
was  "the  chief  instigator  of  this  work, 
and  its  founder,"  though  such  connec- 
tion is  not  easy  to  understand  in  one  of  his 
tender  years.  Yet  undoubtedly  the  King 
would  watch  the  progress  of  the  building 
as  it  rose  stone  by  stone,  before  his  boyish 

56 


Early  English  Church  of  Henry  III 

eyes,  and  his  interest  in  the  church  and  in 
its  devout  founder  would  naturally  increase 
by  association  with  the  great  Norman 
church  then  standing. 

In  that  same  year,  1220,  occurred  the 
translation  of  Becket's  remains  from  the 
crypt  at  Canterbury  to  the  splendid  new 
chapel  and  shrine  prepared  to  receive 
them.  This  took  place  with  magnifi- 
cent ceremony,  in  the  midst  of  a  great 
and  notable  gathering  of  nobles  and 
ecclesiastics,  including  the  Papal  Legate, 
and  the  Archbishop  of  Rheims,  Primate 
of  France.  The  boy  king  led  the  stately 
procession  which  bore  the  relics  onward 
from  the  cold  crypt  to  the  beautiful  chapel, 
brilliant  with  stained  glass  and  irradiated 
by  the  golden  shrine  studded  with  gems; 
and  the  occasion  must  have  left  its  impress 
on  the  lad. 

Apart  from  these  influences,  however,  it 

must  be  remembered  that  the  period  be- 

;   tween   1220  and   1270  was  one  of  great 

architectural  activity  both  in  England  and 

in  France. 

Many  cathedrals  or  parts  of  cathedrals, 
many  churches  and  chapels  were  rising  in 
the  new  Gothic  style.  The  year  1220,  which 
'  witnessed  the  beginning  of  the  Lady  chapel 
at  Westminster  and  the  completion  of  Trin- 
ity chapel  at  Canterbury,  saw  also  the  be- 

57 


Westminster  Abbey 

ginnings  of  splendid  Salisbury  consecrated 
in  1258.  The  King  was  present  at  the  dedi- 
cation of  some  altars  at  Salisbury  In  1235, 
when,  with  his  faithful  friend,  Hubert  de 
Burgh,  he  heard  mass  and  made  rich  offer- 
ings, and  came  again  at  Christmas  of  that 
same  year.  The  King  and  Queen  were 
present  at  the  consecration  in  1258,  and 
again  made  rich  gifts.  In  the  year  1220, 
Beverly  Minster  was  begun:  and  at  York 
the  King's  faithful  friend.  Archbishop 
Walter  de  Grey  was  building  that  lovely 
south  transept  which  struck  the  keynote 
for  the  future  rebuilding  of  the  entire  min- 
ster, and  we  know,  from  his  Itinerary,  that 
the  King  was  several  times  a  guest  at  York 
during  this  period.  The  loveliest  Early 
English  work  in  England  (hence  in  the 
world)  Northwold's  beautiful  presbytery 
at  Ely,  was  rising  between  1235  and  1252 
and  the  King  came  to  Its  consecration.  The 
Nine  Altars  of  Durham  was  begun  in 
1242  :  Rochester's  excellent  choir  was  com- 
pleted In  1227.  The  graceful  Elder  Lady 
chapel  at  Bristol  was  finished  In  1234;  and 
at  Hereford  In  1240,  Bishop  Peter  of 
Savoy  Is  said  to  have  begun  the  beautiful 
north  transept  which  has  so  many  points 
of  resemblance  to  Westminster  Abbey. 
Chester  by  1245  had  completed  her  unique 
chapter  house  and  vestibule,  also  her  Lady 

58 


Early  English  Church  of  Henry  III 

chapel  and  refectory:  a  Lady  chapel  was 
begun  in  Gloucester  In  1220,  and  Worces- 
ter's graceful  choir  and  Lady  chapel  a  few 
years  later.  Southwark's  Lady  chapel, 
built  by  Bishop  de  la  Roche,  dates  from 
this  period  and  de  Lucy's  retrochoir  at  Win- 
chester was  earlier.  Yet  even  more  beau- 
tiful than  any  of  these  was  the  incom- 
plete, scarcely  begun,  west  end  of  the 
St.  Albans  nave,  and  its  porch,  which  Ab- 
bot John  de  Cella's  loving  care  breathed 
into  a  spiritual  grace  and  delicacy  which  no 
later  Early  English  artist  attained  and 
which  the  King  in  his  frequent  visits  to  the 
old  abbey  must  have  seen  again  and  again, 
and  must  have  wished  to  imitate.  He 
could  find  nothing  lovelier  in  France. 

Thus  the  Island  teemed  with  architec- 
tural Industry  during  all  these  earlier  years 
of  the  King's  reign.  Wherever  he  made 
a  progress,  he  would  be  almost  certain  to 
see  these  new  churches  rising,  and  over 
and  over  again  would  his  presence  be 
desired  at  the  laying  of  corner  stones  or 
for  dedication  ceremonies.  He  would 
return  to  his  palace  of  Westminster  to  see, 
not  a  splendid  new  structure,  but  the  round 
arches  and  heavy  columns  of  his  Norman 
church,  which  were  in  striking  contrast  to 
the  airy  pointed  arches  and  graceful 
shafted  columns  of  Salisbury  and  Ely. 

59 


Westminster  Ahhey 

There  was  great  activity  in  the  build- 
ing of  churches  of  France,  at  this  same 
period:  indeed,  it  has  been  called  the 
Golden  Age  of  Gothic  architecture.  The 
Papacy  was  now  in  the  height  of  its  mag- 
nificent powers.  Dante,  Roger  Bacon,  St. 
Francis  of  Assisi,  Stephen  Langton,  Simon 
de  Montfort,  Philip  Augustus  and  Louis 
IX,  the  Dominicans  and  the  Franciscans, 
all  belong  in  this  wonderful  era.  Broad- 
ening tendencies  in  more  popular  forms 
of  government,  in  intellectual  develop- 
ment were  everywhere  noticeable.  Secular 
schools  were  increasing,  governments  being 
more  firmly  established,  towns  richer, 
ideals  higher  than  heretofore.  "The  years 
of  the  Italian  Renaissance  scarcely  showed 
greater  changes,  more  rapid  development 
than  this  thirteenth  century."  In  no  field 
was  the  change  more  rapid,  more  vital, 
more  enduring,  than  in  the  field  of  art, 
chiefly  represented  at  this  era  by  architec- 
ture. The  artist  of  that  day  told  his  story 
in  stone,  long  before  the  art  of  painting  in 
oils  was  practiced.  It  was,  indeed,  "one  of 
the  most  glorious  building  epochs  the 
world  has  seen." 

Amiens  cathedral  was  begun  in  1220, 

the  year  of  the  beginning  of  the  Early 

English  Lady  chapel  at  the  Abbey,  and  its 

choir  was  consecrated  in  1244;  Rheims, 

60 


Early  English  Church  of  Henry  III 

begun  in  121 1,  was  dedicated  in  1241; 
both,  therefore,  were  completed  as  to 
their  choirs  at  least,  before  Henry  began 
to  rebuild  Westminster.  Beauvais,  begun 
in  1247,  was  almost  the  contemporary  of 
Westminster.  Sainte  Chapelle,  the  royal 
private  chapel  of  thp  French  kings,  begun 
in  1245  and  consecrated  in  1248  by 
Henry  Ill's  brother-in-law,  Louis  IX,  was 
the  peculiar  care  of  this  devout  French 
king.  With  it  must  be  named  the  Gothic 
rebuilding  of  St.  Denis,  by  the  same  king, 
in  1230.*  Matthew  of  Paris,  Henry  Ill's 
contemporary,  however,  refers  to  a  rivalry 
between  the  two  kings  in  the  matter  of 
church  building  and  especially  of  relics: 
the  Sainte  Chapelle  being  built  purposely 
to  enshrine  the  crown  of  thorns,  while 
Henry  secured  the  relic  of  the  Holy  Blood, 
"in  his  anxiety  to  outdo  it  by  this  precious 
relic." 

In  1242,  Henry  III  went  to  France  with 
his  queen,  and  there  remained  for  more 
than  a  year,  in  which  time  he  visited  a 
great  number  of  churches  and  cathedrals. 

*Stanley  says  that  St.  Denis,  built  to  contain  the 
tombs  of  French  kings,  was  Henry's  inspiration  in 
the  idea  of  a  place  of  royal  sepulture;  but  this  idea, 
as  we  have  seen,  existed  long  before  in  the  mind  of 
tlie  Confessor,  who  expressly  directed  that  his 
church  should  stand  as  a  place  for  coronations  and 
royal  burials. 

61 


Westminster  Ahhey 

But  I  do  not  follow  those  writers  who  find 
In  French  Gothic  architecture  Henry's 
greatest  influence  or  even  his  greatest 
incentive  to  the  rebuilding  of  Westmins- 
ter. And  unless  we  suppose  that  Salis- 
bury, Ely,  Southwell,  Winchester,  Here- 
ford, Worcester  and  St.  Albans,  to  men- 
tion no  more,  were  all  inspired  by  French 
influence,  I  do  not  see  that  we  need  look 
abroad  except,  perhaps,  for  the  stately 
proportions,  the  plan  of  the  radiating 
chapels  and  the  window  tracery.  Those 
who  attribute  the  Westminster  design 
almost  in  toto  to  a  French  architect,  lay 
too  much  stress,  as  I  think,  on  the  height 
of  the  Abbey,  which  may  well  have  been 
suggested  by  the  lofty  vault  which  the 
Confessor  probably  imitated  from  that  of 
Jumieges.  The  Confessor's  church  had, 
we  remember,  an  ambulatory,  as  has  the 
Abbey  today.  The  Westminster  apse  is 
five-sided,  as  at  Rhelms:  but  Jumieges 
had  an  apse  of  seven  sides.  The  plan  of 
the  radiating  chapels  at  the  east  was 
doubtless  derived  from  Rhelms  and 
Amiens:  like  the  former,  these  chapels 
have  thick  walls  and  a  passageway  with- 
in them :  and  like  Amiens,  the  chapels  are 
polygonal  on  plan  and  throughout  their 
height:  while  the  Amiens  chapels  have 
62 


Early  English  Church  of  Henry  III 

thin  walls  without  a  passageway  and  those 
of  Rheims  are  circular  on  plan  and  to  the 
level  of  the  window  openings  but  are 
polygonal  above. 

The  traceried  and  muUioned  window 
openings  of  the  Westminster  main  arcade 
and  clerestory  are  undoubtedly  of  French 
design,  for  In  England  at  this  period  we 
find  lancet  windows,  singly  or  in  groups, 
and  either  heavy  plate  tracery  or  none  at 
all.  The  rose  windows  in  the  Westmin- 
ster transept,  as  originally  built,  were  also 
purely  French  in  their  design.  The  short 
choir  of  three  bays  with  an  apse,  at  West- 
minster, is  also  like  that  of  a  French 
Gothic  church  of  this  period,  for  Salisbury 
choir  has  eight  bays:  little  Rochester  four, 
with  two  double  bays  in  the  presbytery: 
Worcester  six,  and  Ely  nine.  However, 
the  Westminster  plan  was!  not  necessarily 
borrowed  from  France,  for  the  large  Nor- 
man churches  in  England,  as  we  know, 
often  had  very  long  naves,  as  at  St.  Al- 
bans, Winchester  and  Peterborough,  with 
short  choirs:  and  again,  the  king's  plan 
may  have  been  derived  from  the  Norman 
church  which  he  was  pulling  down.  The 
same  is  true  of  the  Westminster  transept, 
which  has  two  aisles  (but  the  lower  stage 
of  the  west  aisle  in   the   south   transept 

63 


Westminster  Ahhey 

forms  the  east  walk  of  cloister),  a 
plan  not  neeessarily  French,  since  the  same 
feature  appears  in  the  Norman  transepts 
of  Ely  and  Winchester*  and  at  Wells  and 
York. 

From  the;  Ely  presbytery  (123 5- 1252) 
the  King  may  have  takeni  the  plan  of  his 
pillars,  for  here  are  the  eight  banded 
shafts  encircling  a  heavy  central  column, 
as  found  in  all  the  later  work  of  the 
King:  here  also  the  water-mold  bases, 
a  purely  English  feature,  as  seen  at  West- 
minster. The  very  wide  and  beautiful  tri- 
forium,  the  most  prominent  and  decora- 
tive feature  of  the  interior,  might  easily 
have  been  suggested  by  that  rich  triforlum 
of  Ely,  with  its  enriched  moldings  and  side 
shafts:  or  by  the  elaborate  triforlum  of 
Salisbury,  which  'has  double  containing 
arches  in  each  bay,  subdivided  and  tracer- 
ied:  or  by  de  Trumpington's  Early  Eng- 
lish triforlum  in  St.  Albans'  nave,  the  plan 

*Prof.  Moore,  whose  recent  careful  volume  on 
The  Mediaeval  Church  Architecture  of  England  is 
of  much  interest  to  the  student  of  Gothic  architec- 
ture, calls  attention  to  the  French  manner  of  con- 
struction in  the  Westminster  vault  in  the  choir 
and  transept.  Instead  of  starting  the  ribs  in  separ- 
ate voussoirs  and  then  filling  in  with  small  stones, 
the  conoid  is  built  up  to  a  considerable  height  of 
single  blocks,  with  horizontal  beds  shaped  in  the 
proper  form  with  the  rib  profiles  worked  upon  them, 
carrrying  the  horizontal  courses  to  some  distance 
above  the  level  where  the  ribs  begin  to  separate  and 
to  be  formed  of  voussoirs. 

64 


Early  English  Church  of  Henry  III 

of  which  is  precisely  the  same.  For  the 
rich  diaper  work  of  his  triforium,  Henry 
would  not  need  to  go  abroad,  since  it  was 
to  be  seen  in  countless  Norman  churches 
in  England,  at  Hereford  cathedral  in  the 
Norman  work,  and  in  the  Early  English 
transept:  and  in  Rochester  nave,  to  name 
no  more.  For  the  design  of  his  wall- 
arcade  he  would  find  ample  suggestions  not 
only  in  Norman  churches  but  in  de  Lucy's 
retrochoir  at  Winchester:  in  the  Nine  Al- 
tars of  Durham:  in  the  Ely  presbytery: 
the  Elder  Lady  chapel  of  Bristol  and  at 
Lincoln,  to  go  no  farther.  The  censing 
angels  and  other  figures  so  exquisitely 
wrought  in  the  Westminster  arcade,  and  in 
the  triforium  spandrils,  early  appeared  at 
Lincoln  and  at  Durham.  While  the  exqui- 
site foliage  carving  of  Westminster,  fre- 
quently referred  to  a  French  artist,  so 
deeply  undercut  as  to  suggest  the  later 
work  in  the  Southwell  chapter  house, 
reveals  itself  in  almost  perfect  loveliness, 
not  only  in  the  Ely  presbytery  and  on 
Northwold's  beautiful  tomb,  but  in  the 
west  portal  of  Salisbury.  But  lovelier 
even  than  this  carving  at  Westminster  and 
at  Ely  were  the  few  choice  capitals  and 
delicate  leafy  ornaments  of  Abbot  John  de 
Cella's  Early  English  work,  a  mere  frag- 
ment now,  but  at  that  time,  fresh  from  the 

65 


Westminster  Ahhey 

sculptor's  hand,  in  the  old  abbey  church  of 
St.  Albans,  one  of  the  most  beautiful  exam- 
ples of  stone  carving  that  ever  came  from 
the  hand  of  man.*  And  again,  spandril  foli- 
age, in  precisely  the  same  form  as  this  of 
Westminster,  is  seen  in  the  little  church  at 
Stone  in  Kent,  which  bears  numerous  other 
marks  of  resemblance  to  Westminster 
and  was,  no  doubt,  the  work  of  the  same 
English  sculptor.  As  to  figure  sculpture, 
Westminster  has  next  to  none  and  has 
never  been  rich  in  this  respect,  while 
Rheims  and  all  other  contemporary  French 
churches  have  their  doorways  lavishly  en- 
riched with  it;  and  a  French  architect  of 
the  period,  had  such  been  employed  at 
Westminster,  would  surely  have  engrafted 
it  on  his  north  portal  at  Westminster. 

In  the  year  1245,  Henry  III  had  been 
reigning  nine  and  twenty  years  and  was 
thirty-eight  years  of  age.  In  this  year  he 
began  his  preparations  for  the  rebuilding 
of  his  Abbey  church.  From  a  practical 
standpoint,  the  period  was  as  unfavourable 
as  possible  to  the  great  undertaking. 
Papal  exactions  and  the  extravagance  of 
the  magnificent  court  required  vast  sums 
from  the  people,  and  numerous  and  bitter 
were  the  complaints  of  those  from  whom 

*The  Fabric  Rolls  tell  us  that  John  of  St.  Albans 
was  the  King's  sculptor  at  this  period. 

66 


Early  English  Church  of  Henry  III 

King  and  Pope,  in  various  ways,  exacted 
revenue.  The  entire  cost  of  the  structure, 
amounting  to  two  and  a  half  million  dol- 
lars in  present  values,  was  the  King's  own 
gift,  a  royal  work  and  a  royal  gift,  it  may 
be  said:  but  in  order  to  gain  it,  we  are  told 
that  the  King  snatched  here  and  there,  on 
all  sides,  with  desperate  eagerness.  He 
granted  an  annual  fair  of  fifteen  days  in 
Tuthill  (now  Tothill)  Fields,  close  by  the 
Abbey,  in  1246,  and  not  only  ordered  that 
no  other  fairs  should  be  held  at  this  time 
but  that  all  buying  and  selling  elsewhere  in 
London,  within  shops  and  without,  should 
cease  for  that  period.*  Sums  of  money 
due  the  King  in  various  quarters  he  made 
over  to  the  building  fund.  The  citizens  of 
London,  under  royal  pressure,  gave  two 
thousand  pounds.  The  vacancy  in  the 
abbacy  of  Westminster,  whereby  the  in- 
come of  the  abbot  would  be  saved  to  the 
King,  furnished  another  source  of  revenue. 
An  office  for  the  receipt  of  funds  was 
opened  and  the  King  eagerly  laboured  to 
supply  what  was  needed.  An  excellent 
result  of  this  king's  exactions  (always 
noted  in  connection  with  the  rebuilding) 
was  the  rise  of  the  House  of  Commons, 
"founded  as  a  protest  against  the  King's 
lavish  expenditure  on  the  mighty  Abbey 
which  it  confronts." 

♦Holinshed. 

67 


Westminster  Abhey 

It  is  remarkable  that  so  little  informa- 
tion concerning  the  progress  of  the  building 
is  to  be  obtained  from  the  chronicles  of  the 
day.  The  King  reigned  fifty-six  years  and 
the  Abbey  building  was  in  progress  almost 
precisely  half  of  that  time.  The  chroni- 
clers must  have  known  the  name  of  the 
architect,  the  source  of  the  design,  and  all 
the  interesting  details  which  would  be  so 
highly  valued  today:  moreover,  many  of 
the  chroniclers  were  monks  whose  interest 
In  the  Abbey  would  be  considerable.  Yet, 
save  Matthew  Paris,  v/ho  often  wrote  at 
the  King's  command,  little  Is  to  be  learned 
of  that  which  we  most  wish  to  know  on 
this  subject,  and  even  he  leaves  much  to  be 
desired.* 

As  to  the  architect-  If  such  there  was,  we 
are  again  In  darkness.  Various  names  of 
workmen  connected  with  the  building  have 
been  discovered  by  Mr.  Lethaby  and  Rev. 
Mr.  Rackham,  In  their  patient  study  of 
the  old  Fabric  Rolls  of  this  date :  but  none 
are  of  sufficient  Importance  to  v/arrant  us 
in  naming  an  architect  In  the  sense  of  a 
designer,  as  we  understand  this  word 
today.  Matthew  Paris  says  that  It  was 
the  work  of  "divers  architects,"  evidently 

*In  the  Royal  Letters  of  the  Rolls  Series  for  the 
years  1216-1272,  I  find  none  but  the  most  casual  ref- 
erences, and  none  at  all  that  are  illuminating,  con- 
cerning this  noble  architectural  achievement. 

68 


Early  EnglisJi  Church  of  Henrij  III 

meaning  master-workmen,  since  a  number 
of  designers  is  hardly  probable.  Various 
conjectures  have  been  made  as  to  the  na- 
tionality of  the  designer,  whether  he  was 
French  or  English.  After  reading  much 
that  has  been  written  on  this  subject,  my 
own  conclusion  is  that,  as  in  the  case  of 
Edward  the  Confessor,  the  plan  was 
largely,  perhaps  entirely,  the  King's  own, 
delivered  to  his  master  workman  to  be  put 
in  shape,  and  constantly  overlooked  as  the 
work  progressed  by  the  King  himself:  also 
that  not  a  little  of  the  plan,  as  for  example, 
the  enriched  transept  ends,  the  eastern  apse 
and  the  ambulatory-  were  more  or  less  in 
imitation  of  those  features  in  the  Norman 
church  which  he  destroyed.  The  plan  of 
the  radiating  chapels  is  unquestionably 
French:  the  bar  tracery  of  the  windows, 
distinguished  by  the  large  open  circle  so 
freely  employed  in  French  architecture  of 
the  period,  also  may  be  attributed  to 
French  influence.  Yet  there  was  beautiful 
traceried  .work  to  be  seen  in  various  trifor- 
ium  stages  in  England  at  this  time.* 

The  time  occupied  in  the  building,  or  as 

*That  Henry  III,  if  not  the  architect,  was  at  least 
actively  interested  in  the  progress  of  the  work,  ap- 
pears from  a  contemporary  illustration  in  which  he 
appears  giving  directions  to  a  man  who  wears  the 
low  cap  and  bears  the  square  and  compasses  oi  a 
workman  of  the  period,    v.  p.  70. 

69 


Westminster  Abhey 

much  as  the  King  lived  to  complete,  was 
seven  and  twenty  years,  but  the  choir  was 
opened  for  Its  first  service  in  1269.  Some 
time  must  have  been  consumed  in  pulling 
down  the  stout  Norman  church,  razed  to  the 
ground,  says  Matthew  Paris,  quasi  nullius 


-rV^n"ii    it    "       "   "  ' 


HENRY     III     GIVING     DIRECTIONS     TO     HIS     ARCHITECT: 

BUILDING   OPERATIONS  AT  THIS   PERIOD 

(From  an  early  MS.  In  the  British  Museum) 

valoris,  "as  if  of  no  value."  Also  It  must 
be  remembered  that  the  new  building  had 
to  be  adjusted  to  the  Norman  nave  at  the 
west  end,  since  Henry  completed  only  four 
of  the  nave  bays  and  the  others  were  left 
standing  for  a  time:  and  it  had  also  to  be 
adjusted  at  the  east  end  to  the  Early  Eng- 
lish Lady  chapel  built  in  1220.  On  the 
south  side  of  the  nave  and  west  of  the 
transept  lay  the  Norman  cloister,  only  one 
70 


Early  English  Church  of  Henry  III 

walk,  or  rather,  only  a  part  of  one  walk^ 
being  rebuilt  at  this  time.  With  all  these 
conditions  and  obstacles  to  meet,  the  pro- 
gress of  the  new  work  was  extremely 
good:  and  time  has  proved  that  it  was 
thoroughly  well  constructed,  for  the  decay 
is  mainly  from  the  surface  of  a  stone  too 
tender  for  the  climate.  The  church  seems 
to  have  been  built  on  the  old  foundations 
and,  as  has  been  said,  differed  little  in 
extent  from  that  which  it  replaced. 

The  transepts  were  lengthened  by  two 
bays  and  were  built  with  east  and  west 
aisles,  except  that,  in  the  south  transept, 
the  west  aisle  was  of  necessity,  in  its  lower 
stage,  included  in  the  east  walk  of  the 
cloister:  like  the  Norman  transept,  there 
were  gallery  passages  at  the  end.  The 
new  church  has  been  generally  supposed  to 
be  loftier  than  the  old  by  the  height  of  the 
clerestory;  but  if  the  Norman  church  was 
modelled  after  Jumieges,  it  doubtless 
equalled  it  in  height,  and  I  find  no  reason 
for  supposing  that  Jumieges  was  a  low 
structure.  The  apse  at  the  east  was  ex- 
tended much  farther  back  in  order  to 
admit  the  new  chapel  of  the  Confessor 
with  its  lofty  shrine,  as  at  Canterbury  and 
St.  Albans.  We  are  told  that  the  King's 
intention  was  to  enlarge  the  church  and 
this  seems  to  have  been  chiefly  at  the  east, 

71 


Westminster  Abbey 

where,  no  doubt,  more  space  was  needed  to 
accommodate  the  pilgrims  who  visited  the 
shrine.  This  eastern  part  was  elevated 
considerably  above  the  level  of  the  nave 
and  transept,  being  built  over  a  tumulus, 
or  mound  of  earth  brought  in  ships  from 
the  Holy  Land  at  the  King's  command  for 
this  purpose.  The  Early  English  Lady 
chapel  at  the  east,  of  which  we  know  little, 
was  as  large  as  the  present  chapel  of 
Henry  VII,  with  the  exception  of  the  aisles 
and  the  eastern  chapels,  and  terminated  in 
a  three-sided  apse,  the  foundations  of 
which  were  revealed  in  an  excavation  m 
1876. 

The  chapter  house  was  evidently  com- 
pleted in  1253,  for  there  is  a  record  of 
canvas  bought  in  that  year  to  close  the 
windows.  In  general,  the  work  is  thought 
to  have  been  begun  in  the  north  transept, 
in  order  that  the  south  cloister,  which  must 
be  pulled  down  before  rebuilding  in  that 
quarter  could  begin,  might  be  left  un- 
touched as  long  as  possible  and  the  regu- 
lar life  of  the  monks  not  interfered  with. 
The  first  part  of  the  work  was  probably 
complete  In  1261,  and  then  the  choir  was 
undertaken  and  completed  in  1269.  Since 
the  Norman  choir,  under  the  lantern,  was 
probably  left  standing  to  the  east  of 
72 


Early  English  Church  of  Henry  III 

Henry's  work,  its  width  must  have  deter- 
mined that  of  the  main  building. 

The  location  of  the  south  transept  was 
determined  by  the  position  of  the  cloister 
garth  on  the  south,  which  could  not  well  be 
changed.  The  chapter  house  was  en- 
croached upon  by  lengthening  the  transept 
and  had  to  be  pushed  farther  back  and 
supplied  with  a  vestibule,  the  original  chap- 
ter house  having  opened  directly  into  the 
cloister.  The  west  aisle  of  this  transept 
as  has  been  said,  had  to  be  carried  over 
the  east  walk  of  the  cloister  in  a  unique 
fashion,  hence  no  aisle  appears  In  the  main 
arcade  of  the  south  transept,  but  there  is 
both  a  triforium  and  a  clerestory.  A  rich 
mosaic  pavement,  the  materials  of  which 
were  brought  from  Rome,  was  placed  in 
the  Sanctuary  in  1267.  The  beautiful 
shrine  was  completed  in  1269. 

In  1 247,  Henry  III,  whose  love  of  sacred 
relics  surpassed  that  of  the  French  Louis, 
was  made  glad  by  the  gift  of  a  portion  of 
the  blood  of  our  Lord,  sent  him  from  the 
Holy  Land  by  the  Knights  Templar  and 
Hospitallers.  This  enclosed  in  a  rich 
vase,  he  bore  reverently  in  his  own  hands, 
at  the  head  of  a  solemn  procession  of 
clergy,  from  St.  Paul's  to  the  Abbey,  on 
St.  Edward's  Day,  and  humbly  offered  it 
at  the  altar,   in  this  second  year  of  the 

73 


Westminster  Ahhey 

building  of  the  new  church,  the  altar  then 
standing,  for  the  time,  in  the  nave  of  the 
old  Norman  church.  Matthew  Paris  was 
a  spectator  on  this  occasion  and  the  King 
invited  him  to  dinner  afterwards,  with 
three  of  his  brother  monks,  and  ordered 
him  to  write  an  account  of  the  ceremony. 


HENRY    III   DELIVERING   THE  RELIC    OF   THE   HOLY    BLOOD 

TO   THE  ABBOT  OF  WESTMINSTER 

(From  an  early  MS.  in  the  British  Museum) 

On  St.  Edward's  Day,  October  13, 
1269,  the  east  end  of  the  church  was  suffi- 
ciently complete  for  occupancy-  The  King 
and  the  monks  with  great  joy  celebrated 
the  opening  of  the  choir  for  its  first  service 
and  translated  the  body  of  the  Confessor 
to  its  new  resting  place.  From  its  tem- 
porary home  in  a  chapel  of  the  King's  pal- 
ace, It  was  reverently  borne  on  the  should- 
ers of  the  King,  his  two  sons,  Edward 
(later  Edward  I),  and  Edmund  Crouch- 
back,  and  Richard,  Earl  of  Cornwall,  the 
King's  younger  brother.     Edward  had  at 

74 


Early  English  Church  of  Henry  III 

this  time  been  fifteen  years  married  to  the 
beautiful  Eleanor,  the  chere  reine,  and  no 
doubt,  with  his  mother,  Eleanor  of  Prov- 
ence, stood  also  his  own  wife,  with  all  the 
nobles  of  the  court,  as  they  placed  the 
holy  relics  in  the  fair  new  shrine  covered 
over  with  gold  and  richly  set  with  precious 
stones  in  its  place  behind  the  high  altar. 
The  coffin  in  which  the  Confessor's  body 
had  rested  for  two  centuries  was  reserved 
by  the  King  for  his  own  use,  on  account 
of  its  supposed  sanctity.  On  this  occasion, 
Henry's  queen  offered  a  beautiful  silver 
image  of  the  Virgin  besides  many  costly 
jewels:  the  monks  sang  their  first  mass  in 
the  stately  choir,  not  as  we  see  it  today, 
but  decorated  with  rich  and  costly  furnish- 
ings and  its  mosaic  pavement,  its  large  win- 
dows, and  its  sculpture  all  entire  and  fresh 
from  the  hands  of  the  various  craftsmen. 
All  the  space  to  the  east  of  the  crossing, 
so  far  as  the  Lady  chapel  and  perhaps 
farther,  was  then  open  to  view,  in  one  long 
vista,  the  screen  now  at  the  back  of  the 
altar  being  of  later  date. 

Precisely  how  much  of  the  church  was 
completed  by  the  King  at  this  time  we  do 
not  know.  The  most  reliable  authorities 
today  consider  that  all  the  eastern  arm 
and  transept,  together  with  part  of  the 
east  cloister  walk,  the  chapter  house  and 

75 


Westminster  Ahhey 

four  bays  of  the  nave  west  of  the  crossing, 
and  the  main  arcade  of  the  fifth  bay,  were 
completed  by  this  King:  but  for  many 
decades  the  latest  work  in  the  nave  was 
attributed  to  Edward  I.  The  differences 
between  the  first  and  the  immediately  suc- 
ceeding bays,  however,  are  found  to  be 
minor  differences  and  such  as  might  natur- 
ally occur  in  the  course  of  building  opera- 
tions covering  a  period  of  twenty-five  years 
and  more.  Bronze  rings  on  the  piers  re- 
placed those  of  marble:  the  plan  of  the 
piers  was  improved  and  the  number  of 
encircling  shafts  increased:  but  the  general 
appearance  was  the  same  as  in  the  earlier 
work.  Other  evidence  concerning  the 
date  Is  supplied  by  the  stone  shields  In  the 
spandrils  of  the  wall  arcade  of  the  side 
aisles.  In  one  of  these  appears  the  shield 
of  Simon  de  Montfort  which  would 
hardly  be  used  to  his  honour,  though,  no 
doubt,  he  contributed  to  the  early  fabric, 
after  he  took  up  arms  against  the  King 
In  1263. 

Henry  III  died  at  his  palace  of  West- 
minster In  1272,  three  years  after  the 
splendid  choir  had  been  opened  for  use, 
being  then  in  his  sixty-fifth  year,  while 
building  operations  In  the  nave  were  still 
proceeding  rapidly.  His  eldest  son, 
crowned  that  same  year  as  Edward  I,  was 

76 


Early  English  Church  of  Henry  III 

then  thirty-three  years  of  age,  in  the  height 
of  a  strong  and  vigourous  manhood,  and 
for  eighteen  years  had  been  married  to 
Eleanor  of  Castile.  To  the  young  King, 
Henry  committed  the  completion  of  the 
new  building,  "founded  by  the  blessed 
Saint  Edward,"  for  whom  the  son  had 
been  named.* 

At  the  time  of  his  father's  death,  Ed- 
ward I  and  Queen  Eleanor  were  slowly 
returning  from  a  crusade  to  the  Holy 
Land.  On  his  arrival  in  England,  the  new 
king's  attention  was  speedily  occupied  by 
affairs  in  Wales:  by  the  enactment  of  new 
laws  and  adjustment  of  old  ones,  and  later, 
the  wars  in  Scotland  demanded  his  ener- 
gies. The  Abbey  church,  therefore,  for 
wise  reasons,  remained  practically  as  it 
had  been  left  by  his  father.  The  king- 
dom was  more  important,  at  this  time,  than 
farther  rebuilding  of  the  church,  and 
Edward  recognized  that  which  his  name- 
saint  and  his  own  father  had  not  suffi- 
ciently considered. 

The  first  Edward's  weak  son,  Edward 
II    (1307-1327)    cared   as  little    for  the 

*The  King's  Will  contained  this  clause:  "Et  fabri- 
cam  ecclesiae  beati  Edwardi  Westmonasterii  et  com- 
mitti  prefato  Edwardo  primogcnito  meo  perficiendnm 
...  ad  feretrum  vero  ipsius  Edwardi  beati  perfi- 
ciendnm lego  quingentas  marcas  argenti,  percipiendas 
de  jocalibus  nieis  per  manus  praedictorum  reginae  et 
executorum  meorum." 

77 


Westminster  Abbey 

church  as  for  the  kingdom.  Again, 
absorbing  French  wars  occupied  the  third 
Edward's  reign  (1327-1377).  In  the 
meantime,  the  new  work  had  been  consid- 
erably damaged  by  fire  in  1298,  and  imme- 


HENRY  Ill's  BUILDING  WITH   THE  WEST  PORTION  OF  THE 
confessor's    CHURCH        (CONJECTURAL) 

diate  rebuilding  was  necessary  in  the  clois- 
ter and  its  offices.  The  church  itself  had 
not  been  injured.  And  since  there  was  no 
royal  hand  at  leisure  to  supply  either  the 
material  or  the  spirit  to  continue  the 
rebuilding,  it  is  probable  that  though  the 
work  may  not  have  ceased  entirely,  yet 
from  1272,  when  Henry  III  died,  until 
1376,  the  appearance  of  the  Abbey  was 
that  of  a  great  and  beautiful  Early  English 
church  so  far  as  the  present  fifth  bay  from 
the  transept,  connected  by  a  porch  with 
the  western  Norman  bays  of  the  Con- 
fessor's church. 

78 


CHAPTER  IV 

THE  COMPLETION  OF  THE  NAVE 
—THE  NOVUM  OPUS 

(Built  in  the  Early  English  manner  imitating  the 
earlier  work,  with  some  later  architectural  details, 
between  1376  and  1528:  but  the  west  towers  were 
not  completed  until  1740.) 

Following  the  death  of  Henry  III  in 
1272,  no  substantial  changes  were  made 
or  important  building  operations  under- 
taken in  the  church  for  more  than  a  cen- 
tury. The  eastern  arm  of  the  church, 
with  the  transepts  and  four  bays  of  the 
nave,  stood  connected  by  a  porch  with  the 
Norman  western  bays  of  the  old  structure : 
but  all  that  part  which  was  in  general  use 
was  of  the  new  architecture. 

A  noble  and  honoured  name  now  ap- 
pears in  the  Abbey  records,  not  a  royal 
name,  but  that  of  one  of  the  wisest  friends 
that  the  fabric  ever  had.  Abbot  Simon 
Langham  had  made  his  profession  as  a 
Benedictine  monk  in  the  monastery  of  St. 
Peter's.  In  1349,  when  the  Black  Death 
was  ravaging  England,  and  swept  away 
the  prior  of  the  convent  and  twenty-six  of 
his  monks,   Langham  was   elected  prior. 

79 


Westminster  Abbey 

Before  the  year  was  over,  Abbot  Byrches- 
ton  had  fallen  a  victim  to  the  plague,  and 
Langham  was  made  Abbot  In  his  room  "by 
harmonious  and  canonical  election." 

The  Impoverished  condition  of  the  Ab- 
bey treasury;  at  this  sad  period,  when  all 
London  was  In  distress,  is  evident  from  the 
fact  that  when  the  new  Abbot  was  prepar- 
ing to  go  to  Avignon  to  receive  the  papal 
confirmation  of  his  election,  he  was  forced 
to  sell  the  jewels  and  ornaments  of  the 
church  to  provide  means  for  his  long  jour- 
ney to  the  south  of  France.  On  his  return, 
though  apparently  one  of  the  younger  mem- 
bers of  the  community,  he  laboured  zeal- 
ously to  reform  the  lax  discipline:  "he 
rooted  out*  insolences  and  abuses,  singu- 
larities, superfluities  and  maliciousness  of 
some" :  paid  the  monastery  debts  and  in  all 
things  governed  wisely. 

He  began  building  operations  on  the  nave 
and  the  south  cloister,  almost  at  once,  and 
while  little  was  accomplished  in  the  nave 
at  this  time,  he  seems  to  have  completed  a 
very  considerable  part  of  the  south  and 
west  walks  of  the  cloister.  Honours 
speedily  fell  to  the  wise  young  Abbot;  in 
1360,  Eclward  III  being  king,  he  was 
chosen  treasurer  of  England,  and  soon 
after  was  elected  to  the  bishopric  of  Lon- 

*Flete. 

80 


The  Completion  of  the  'Nave 

don;  but  Ely  also  falling  vacant,  and  Its 
diocese  being  "distracted,"  at  the  king's 
desire  he  proceeded  to  the  chair  of  Ely, 
and  the  year  following  was  made  Arch- 
bishop of  Canterbury.  Five  years  later, 
Pope  Urban  V  made  him  Cardinal-presby- 
ter of  St.  Sixtus,  and  this  honour  necessi- 
tating residence  at  the  papal  court  at 
Avignon,  he  resigned  the  Primacy  and 
went  abroad  for  the  remainder  of  his  life, 
but  was  usually  called  the  Cardinal  of 
Canterbury.  In  such  honour  was  he  held 
at  Westminster,  that  when  he  returned  to 
England  in  137 1  to  mediate  between  the 
kings  of  England  and  France,  the  bells 
of  St.  Peter's,  his  early  and  beloved  mon- 
astic home,  were  rung  to  welcome  him. 

His  love  and  care  for  Westminster 
never  failed.  But  of  particular  interest 
to  us  in  this  study  is  the  fact  that  in  the 
last  year  of  his  life  (he  died  in  1376)  his 
thoughts  turned  again  to  the  Abbey,  and 
he  set  apart  an  ample  yearly  allowance  for 
the  completion  of  the  nave,  and  sent  word 
to  Abbot  Litlington  of  his  intention,  ask- 
ing that  building  operations  be  undertaken 
at  once.  In  April  of  this  year  the  Abbot 
wrote  to  the  Cardinal:  "You  must  know 
that  since  Michelmas  there  have  been 
seven  masons  continually  at  work  and 
three  at  the  quarry  at  Reigate;  and  since 

81 


Westminster  Abbey 

Christmas  ten  masons  to  pull  down  the 
side  of  the  church  next  the  cloister  (i.e., 
the  wall  of  the  south  nave  aisle),  and  all 
is'  in  readiness  now  for  rising  twelve  feet 
in  height  and  three  pillars  in  length.  I 
myself  laid  the  first  stone  on  the  first  Mon- 
day in  Lent  (March,  1376),  in  honour 
of  God  and  St.  Peter,  and  in  the  name  of 
our  most  honourable  lord." 

To  this  the  Cardinal's  deputy  replied: 
"As  to  the  progress  of  the  new  work  of 
your  church,  my  lord  has  received  your 
letter  setting  out  clearly  the  form  and 
manner  of  the  work.  It  seems  to  him 
that,  all  things  considered,  the  workmen 
are  too  slow  at  their  work,  half-hearted 
and  slack  (tepidi  et  remisi).^^  The  Car- 
dinal, however,  wrote  later,  and  in  some- 
what milder  strain,  though  severe  and 
peremptory,  expressing  appreciation  of 
what  had  been  accomplished,  and  Litling- 
ton  replied,  wishing  that  Langham  might 
come  over  and  supervise  the  work,  saying 
that  it  was  much  more  difficult  to  pull 
down  and  rebuild  than  to  build  in  a  new 
place  and  that  the  Cardinal's  money  had 
to  go  for  stone,  rubble  and  other  material, 
as  well  as  for  labour. 

This  letter  from  the  Abbot,  Langham 
never  read,  for  he  died  suddenly,  a  few 
days  later,  of  a  paralytic  stroke  received 

82 


The  Completion  of  the  "Nave 

as  he  sat  listening,  at  breakfast,  to  a  read- 
ing of  the  Scripture.  It  was  found  that 
he  had  left  £10,800,  equal  to  $750,000  of 
present  value,  to  the  further  rebuilding  of 
the  Abbey,  together  with  many  rich  and 
valuable  ornaments.  His  mitre  alone  was 
said  to  be  worth  £1,500  and  was  of  gold 
decorated  with  pearls  and  other  precious 
stones  and  the  infulae  were  garnished 
with  "eight  great  stonys  and  perles  and 
VIII  pendant  bells  of  gold." 

How  did  a  humble  monk  of  St.  Benedict 
accumulate  such  wealth?  Not,  we  may 
be  certain,  from  the  small  amount  of 
spending-money  granted  the  Westminster 
monks.  But  adding  together  his  income 
as  Treasurer  of  England,  as  Chancellor, 
Bishop  of  Ely,  Archbishop  of  Canterbury 
and  Cardinal,  "at  a  time  when  riches 
easily  followed  greatness,"  and  consider- 
ing the  fact  that  while  Cardinal,  in  1373, 
he  held  also  the  offices  of  Dean  of  Lincoln 
and  Prebendary  of  Brampton,  in  the  same 
cathedral;  Treasurer  of  Wells  and  Arch- 
deacon of  Wells  and  Taunton;  was  a  Pre- 
bendary of  York  and  Archdeacon  of  the 
West  Riding:*  and  the  fact  that  though 
a  princely  giver  he  was  a  prudent  guardi- 
an, we  may  understand  the  reason  for  his 

*Dean  Robinson  in  the  Church  Quarterly  Review, 
66:  339^. 

83 


Westminster  Abbey 

great  wealth.  His  father,  Thomas,  lay 
buried  in  the  nave  of  Westminster,  and 
it  is  thought  by  some  that  a  part  of  the 
Cardinal's  early  wealth  may  have  been 
inherited.  "A  great  and  a  good  man  who 
filled  the  highest  offices  in  church  and 
state  with  dignity,  integrity  and  unselfish- 
ness." 

Cardinal  Langham  was  buried  in  the 
chapel  of  St.  Benedict,  in  the  south  tran- 
sept, where  his  beautiful  tomb  and  effigy, 
placed  here  by  the  grateful  monastery, 
still  remain.  The  fruits  of  his  legacy  ap- 
pear in  the  sixth,  seventh  and  eighth  bays 
of  the  main  arcade  of  the  nave,  counting 
from  the  crossing;  the  five  bays  to  the  east, 
as  we  have  seen,  being  already  com- 
pleted, except  the  two  upper  stages  of  the 
fifth  bay,  by  Henry  III.  But  of  all  the 
Cardinal's  magnificent  gift,  no  more  than 
this  was  appropriated  to  the  building  of 
the  church  itself.  With  the  remainder, 
thrifty  Abbot  Litlington  built  sumptuously 
in  cloister  and  precincts.  He  rebuilt  the 
north  walk  of  the  cloister,  the  noble  Dor- 
mitory, the  upper  part  of  the  Refectory, 
the  Infirmary  Hall,  the  Abbot's  Lodging, 
Including  the  Jerusalem  Chamber  and  Col- 
lege Hall.  Also  of  Langham's  bounty 
were  erected  the  long  range  of  buildings 
formerly  continuous,  on  the  south  side  of 

84 


The  Completion  of  the  Nave 

the  present  Dean's  Yard,  having  vaulted 
gateways  to  the  cloister,  and  beyond,  to 
the  kitchen  yard  and  the  present  West- 
minster School:  also  the  great  Kitchen,  the 
Brewery,  the  monastery  Mill,  and  the 
dam  over  the  Mill  Stream.  These  works 
are  often  accredited  to  Abbot  Litlington, 
under  whose  able  supervision  they  were 
erected,  and  whose  passion  for  attaching 
his  initials  here,  there  and  everywhere  was 
almost  equal  to  that  of  Rameses  11.  Even 
on  the  bosses  of  the  cloister  walks  (prob- 
ably all  that  he  added  to  Langham's  work 
in  the  cloister)  you  may  see  the  familiar 
"N.  L."  And  it  is  generally  thought  that 
he  diverted  the  Cardinal's  legacy  from  the 
work  on  the  nave  for  which  it  was 
intended. 

Following  the  death  of  Litlington  in 
1386,  the  nave  building  received  a  fresh 
impetus  from  a  third  royal  builder,  Rich- 
ard II,  who,  in  1388,  promised  an  annual 
gift  of  £100,  he  being  then  twenty  years 
old  and  presumably  having  a  long  life  in 
prospect,  the  gift  being  equal  to  about 
$7,500  of  our  money  today.  By  a  curious 
coincidence,  this  third  royal  benefactor 
was  a  third  English  king  of  inferior  abil- 
ity as  a  statesman,  but  a  devout  and  gen- 
erous friend  of  the  church  and  of  the 
Abbey.     Here  he  had  been  crowned,  after 

85 


Westminster  Ahhey 

the  death  of  his  grandfather,  Edward  III 
(his  father,  the  Black  Prince,  not  living 
to  come  to  the  throne)  he  being  then  a 
boy  of  eleven,  on  whom  the  splendid  cere- 
monial made  a  deep  and  lasting  impres- 
sion. Here,  in  1382,  he  was  married  by 
the  Bishop  of  London  to  the  beautiful 
young  Anne  of  Bohemia.  The  Confessor's 
shrine  he  held  in  high  esteem  and  came 
constantly  to  the  Abbey  not  only  to  visit 
it  but  to  hear  mass:  and  we  read  that  in 
1386  he  brought  here  his  royal  guest.  King 
John  of  Armenia,  and  showed  him,  by  can- 
dlelight the  regalia  which  he  had  worn  at 
his  coronation.  Doubtless  he  was  a  bet- 
ter friend  to  the  Abbey  than  his  father, 
the  Black  Prince,  would  have  proved.  In 
1387,  grateful  for  the  promise  of  support 
from  the  citizens  of  London  in  the  midst 
of  his  many  difficulties,  Richard  came  in 
procession  to  the  Abbey  and  at  Charing 
Cross  took  off  his  shoes  and  walked  bare- 
foot the  remaining  distance.  At  the  west 
door  he  was  received  by  the  Abbot  and 
convent  and  then  made  his  devotions. 

The  Fabric  Rolls  tell  us  of  the  work 
now  undertaken  through  the  gift  of  Rich- 
ard. The  chief  mason  was  Master  Henry 
Yvele,  who  received  one  hundred  shillings 
a  year  and  fifteen  shillings  for  his  dress 
and  furs.     Twenty  masons  were  employed 

86 


The  Completiofi  of  the  Nave 

in  1397  and  for  their  convenience  a  house 
or  lodge  was  erected  on  the  north  side  of 
the  nave.  The  building  stone  came  chiefly 
from  the  Reigate  quarries,  was  brought  in 
carts  to  Battersea,  there  placed  in  boats, 
floated  down  the  Thames  to  the  West- 
minster mill  and  thence  conveyed  in  carts 
to  the  Abbey.  The  King's  particular  gift 
was  a  beautiful  North  Porch  called  Solo- 
mon's Porch,  which  he  caused  to  be 
built  at  the  north  transept,  probably 
then,  as  now,  the  most  usual  entrance  to 
the  church.  It  was  of  graceful  decorated 
design,  handsomely  adorned  with  paint- 
ings on  its  inner  walls.  Here  were  seen 
the  king's  arms  supported  by  two  angels 
and  beneath  them  his  device,  a  white  hart 
cotichant,  gorged,  under  a  tree,  with  a  gold 
chain  and  coronet.  The  windows  in  the 
south  nave  aisle  containing  this  same  em- 
blem were  doubtless  of  this  period.  Rich 
offerings  were  made  to  the  church  by 
the  King  on  the  death  of  his  passionately 
loved  queen,  Anne  of  Bohemia,  in  1394. 
The  King  died  in  1399,  and  left  a  rich 
store  of  jewels  for  the  work  on  the  church, 
"per  nos  incepta/' 

The  expense  of  this  new  work  is  esti- 
mated by  Mr.  Rackham  as  £152,000,  or 
$315,000  in  present  day  values:  but  the 
Rolls  for  some  of  the  years  are  missing. 

87 


Westminster  Ahhey 

The  marble  pillars  alone  cost  from  £40 
to  £60  each.* 

The  troubled  reign  of'Henry  IV,  Rich- 
ard II's  successor,  contains  no  record  of 
building  operations  at  the  Abbey:  but  the 
accession  of  his  son,  Henry  V,  in  1413, 
was  the  beginning  of  a  new  and  prosper- 
ous era  for  church  building.  The  King, 
disturbed  at  the  unfinished  condition  of  the 
nave,  set  apart  an  annual  gift  of  1000 
marks  towards  its  completion,  and  though 
Abbot  Colchester  was  still  alive,  he  would 
permit  no  further  work  to  be  undertaken 
until  Sir  Richard  Whittington,  the  famous 
Lord  Mayor  of  London,  had  seen  and 
approved  the  plans,  and  to  him  he  gave 
the  charge  of  his  gift  to  the  fabric. 

To  this  period  Rackham  assigns  the 
triforium  and  clerestory  of  the  fifth  bay 
from  the  transept,  left  unfinished  by 
Henry  Ill's  builders:  also  the  entire  tri- 
forium and  clerestory  of  the  bays  from 
the  sixth  to  the  eleventh,  a  great  and  nota- 

*At  this  period,  an  inventory  of  the  Vestry  in- 
cludes very  vakiable  vestments,  among  them  eight 
mitres  richly  jewelled  with  pearls,  sapphires,  golden 
bells  and  silver  plates ;  four  crosiers,  one  of  silver ; 
nine  pairs  of  rich  Episcopal  gloves  ornamented  with 
jewels;  seven  rings,  including  that  of  the  Confes- 
sor, which  contained  a  great  sapphire  and  eight  red 
stones  and  a  beautiful  altar  frontal,  the  gift  of  Henry 
III,  which  took  four  women  three  and  a  half  years 
to  make,  given  the  year  before  the  King  died. 


TJw  Completion  of  the  'Nave 

ble  piece  of  work:  but  the  vault  and  the 
roof  are  of  later  date.  During  these 
twenty  years,  2,413  carts  of  stone  were 
brought  between  July,  14 13,  and  Christ- 
mas, 141 6:  and  twenty  masons  were  con- 
stantly employed. 

Henry  V  reigned  but  nine  years.  Build- 
ing operations  continued  all  along  the 
years  of  his  son,  Henry  VI  (1422-1461), 
though  comparatively  little  was  accom- 
plished. The  wars  with  France  and  the 
Wars  of  the  Roses  were  more  than  suffi- 
cient to  engross  the  King's  attention,  and 
again  the  Church  waited  on  the  State. 
But  in  1432,  the  King  gave  a  writ  of  £200 
to  the  clerks  of  Henry  V's  chantry  chapel, 
hence  it  must  have  been  complete  at  this 
time,  a  beautiful  addition  to  the  east  end 
of  the  Abbey.  The  great  dormitory  of 
the  monks  was  burned  in  1447,  ^^'^  rebuilt 
at  a  cost  of  £184  during  the  three  years 
following.  The  large  rose  window  of 
the  south  transept  was  repaired  (1451- 
1462),  for  which  twelve  hundred  and 
forty  pounds  of  new  iron  and  ten  hundred 
and  twenty-seven  of  old  were  used:  the 
new  glazing  had  the  King's  arms  in  the 
centre. 

Now,  again,  an  abbot  of  the  monastery 
comes  into  prominence  as  a  builder,  in 
1467,  Edward  IV  being  King,  the  able 
89 


Westminster  Abhet/ 

Abbot  Milling,  and  under  his  energetic 
direction  the  entire  monastery  seems  to 
have  been  enthusiastically  interested  in  the 
completion  of  the  long  delayed  work.  The 
monks  saved  something  from  their  small 
pocket  money,  and  denied  themselves  their 
annual  summer  excursion  to  Battersea  for 
this  purpose.  The  King  gave  £ioo  a 
year:  the  Queen,  who  had  twice  sought 
sanctuary  from  her  enemies  in  the  Abbey, 
added  to  the  gift:  and  the  Prince  (who 
was  born  in  the  Abbey),  was  made  to 
promise  that  when  he  was  four  years  of 
age  he  would  give  forty  marks  a  year  until 
he  was  twelve. 

The  principal  works  now  remaining  to 
be  accomplished  were  the  vaulting,  the 
roof  and  the  west  front.  Abbot  Easten- 
ey's  long  reign  (1474-1498)  was  fruitful 
in  good  work  for  the  church.  He  vaulted 
five  bays  of  the  nave  and  the  side  aisles, 
roofed  the  entire  nave,  and  completed  the 
west  window.  For  the  roof  one  hundred 
and  thirty-two  oaks  were  given  by  the 
monastery  of  St.  Albans,  which  was  then 
in  the  midst  of  forest  and  the  King  gave 
forty  oaks:  the  prior  of  Canterbury  also 
contributed  for  this  purpose.  A  great 
store  of  lead  to  cover  the  roof  was  pro- 
vided. For  the  vaulting,  they  bought  one 
hundred  and  forty-nine  loads  of  stone  and 
90 


The  Completion  of  the  Nave 

employed  twenty-three  masons  "for  vary- 
ing intervals."  The  bosses  for  the  vault 
were  raised  to  their  places  by  means  of  a 
great  wheel.  Scaffolding  was  floored  for 
the  use  of  the  masons  and  partitioned  off : 
and  provision  was  made  to  shut  out  the 
wind,  weather  and  pigeons.*  The  battle- 
ments and  flying  buttresses  were  also  com- 
pleted at  this  time.f 

Henry  VII  (1485-1509)  not  only 
erected  one  of  the  most  beautiful  Lady 
chapels  that  England  or  the  world  ever 
saw,  but  also  gave  large  sums  of  money 
towards  the  completion  of  the  nave.  A 
considerable  amount  of  stone,  to  the  value 
of  £80,  from  the  Early  English  Lady 
chapel  which  was  pulled  down  in  1502  to 
make  room  for  the  new  one,  was  given  to 
the  building  of  the  nave,  and  here,  if  we 
search  for  them,  may  be  found  stones 
dressed  in  the  Early  English  manner. 

The  paving  was  done  by  Abbot  Islip 
between  15 10  and  15 17,  for  which 
more  than  three  thousand  paving  stones 
were  purchased  and  several  "hard- 
hewers"  were  engaged  for  the  task.  Some 
idea  of  the  confusion  that  must  have 
reigned  within  the  Abbey  previous  to  its 
completion,  may  be  gathered  from  the  fact 

*Rackham. 
tWidmore. 

91 


Westminster  Ahhey 

that  between  1508  and  15 12  nearly  six 
hundred  cartloads  of  rubbish  were  cleared 
away.  Abbot  Islip  finished  the  vault,  and 
the  gable  end;  glazed  the  west  window* 
and  completed  the  west  towers  so  far  as 
the  Gothic  work  is  continued.  The 
Renaissance  work  on  the  west  front  and 
the  towers,  first  designed  by  Wren,  were 
completed  by  Nicholas   Hawkesmoor,   c. 

I745-* 

The  nave  windows  were  glazed  at  dif- 
ferent periods,  some  of  them  as  early  as 
the  time  of  Richard  II,  and  one  of  them, 
at  least,  contained  his  device,  the  hart 
coiichant.  Another  contained  the  figures 
of  the  Confessor  and  the  Pilgrim.  The 
great  west  window  was  glazed  in  1509, 
the  glass  costing  £44  and  a  glazier  from 
Malvern  (Great  Malvern  was  a  cell  of 
iWestminster),  was  paid  to  come  and 
inspect  it.  The  western  gables,  and,  as 
has  been  said,  the  upper  part  of  the  west 
towers,  remained  unfinished  until  the  mid- 
dle of  the  eighteenth  century,  c.  1745. 

While  Abbot  Islip  was  completing  his 
work  on  the  towers,  he  was  also  complet- 
ing the  glazing  of  the  clerestory  windows 
and  with  other  minor  work  he  also  built 

*Rackham. 

*Not  unlikely,  says  Micklethwaite,  considering 
their  twelfth  century  form,  the  west  towers  retain 
some  of  the  old  Norman  masonry  cased  over. 

92 


The  Completion  of  the  Nave 

the  quaint  little  oriel  or  projecting  pew  at 
the  west  of  the  nave,  in  the  triforium 
stage,  called  the  Abbot's  Pew,  which  con- 
nects at  the  rear  with  the  new  chambers 
which  he  added  to  his  Lodgings.  He  also 
built,  or  rather  rebuilt,  the  beautiful  little 
chapel  in  the  north  ambulatory  which  bears 
his  name. 

While  the  west  end  of  the  nave  was  be- 
ing completed,  in  the  early  days  of  the  six- 
teenth century,  Henry  VII  designed  and 
founded  the  magnificent  Lady  chapel 
which  now  bears  his  name,  at  the  east  end 
of  the  church.  The  work  was  begun  in 
1503,  and  probably  not  entirely  finished 
with  the  tomb  of  the  founder  and  the  altar 
until  15 19.  The  story  of  this  building 
will  be  found  in  Chapter  XVI.  It  was 
constructed  after  the  latest  and  most 
ornate  designs  and  detail  of  the  Perpen- 
dicular Gothic  style  of  architecture. 

Thus  the  long  story  of  the  church  build- 
ing was  ended,  nearly  five  hundred  years 
from  the  time  when  the  third  Henry  began 
to  build.  The  most  remarkable  feature  of 
the  entire  history,  perhaps,  is  the  fact  that, 
with  the  exception  of  the  Renaissance  work 
at  the  west  front,  the  Early  English  style 
of  the  eastern  building  of  Henry  III  was 
never  substantially  altered:  and  that,  at  a 
time  when  the  Decorated  and  Perpendicu- 

93 


Westminster  Abbey 

lar  manner  of  Gothic  architecture  were  in 
use  throughout  England,  these  Westmin- 
ster builders,  one  by  one,  century  by  cen- 
tury, were  content  to  adopt  the  earlier 
method  and  so  to  complete  in  a  nearly 
uniform  style  the  work  that  their  fathers 
began. 

The  general  plan  of  arches,  piers, 
mouldings,  vaults  and  capitals,  and 
the  original  proportions  were  preserved 
throughout.  While  Abbot  Langham  built 
his  cloister  walls  in  the  fourteenth  century 
style ;  and  Abbot  Litlington  continued  them 
in  the  manner  of  his  day,  the  architecture 
of  the  nave  was  kept,  almost  rigourously, 
to  the  Early  English  design.  While 
Henry  VII  and  Abbot  Islip  were  building 
gloriously  and  with  richest  ornament,  in 
their  chapels  at  the  east,  the  solemn  old 
nave  was  allowed  to  retain  the  fashions  of 
its  dress  and  ornament,  now  two  and  a 
half  centuries  old.  A  little  scrutiny  en- 
ables one  to  detect  changes  in  mouldings 
and  piers:  the  lack  of  ornament  in  the 
spandrils  and  other  minor  differences  but 
the  general  impression  of  the  church 
interior  from  apse  to  west  front  is  that  of 
an  Early  English  building. 

The  Abbey  church  remained  in  use  for 
the  original  purpose  of  its  building  only  a 
few  years  after  its  completion.       Masses 

94 


The  Completion  of  the  Nave 

were  to  be  said  in  Henry  VIFs  chapel,  and 
in  many  other  chapels,  "perpetually";  but 
Abbot  Islip  had  been  in  his  grave  only 
eight  years  when  the  monastery  was  dis- 
solved by  order  of  Henry  VIII,  the  Con- 
fessor's shrine  was  pillaged  and  destroyed 
and  the  Roman  form  of  worship  passed 
away,  save  for  a  brief  period  during  the 
reign  of  the  Roman  Catholic  Queen  Mary. 


95 


CHAPTER  V 

THE  PLAN 

The  usual  entrance  to  the  Abbey  is  by 
way  of  the  north  porch  which  leads 
directly  into  the  north  transept.  Walking 
down  this  transept  to  the  central  bay  under 
the  tower,  at  the  point  where  the  long  and 
short  arms  of  the  cruciform  church  inter- 
sect, and  turning  to  face  the  altar  at  the 
east,  an  excellent  idea  of  the  general  plan 
of  the  church  may  be  obtained.  And  it  is 
well  worth  while  to  gain  a  comprehensive 
idea  of  the  plan  at  the  outset,  before  mak- 
ing acquaintance  with  the  different  por- 
tions of  the  building. 

In  front  of  us,  to  the  east,  rises  the 
stately  choir  of  three  bays  with  an  apse  of 
five  compartments:  but  the  two  eastern 
bays  and  the  apse  which  form  the  Confes- 
sor's chapel  are  here  set  off  from  the  two 
western  bays  by  a  low  screen,  the  central 
compartment  of  which  forms  the  reredos 
of  the  altar.  It  will  be  seen  at  once  that 
the  larger  part  of  this  eastern  arm  lies 
behind  the  altar;  but  when  the  church  was 
first  built,  the  Confessor's  shrine  within 
the  chapel  was  the  central  object,  after  the 
main  altar:  and  until  the  fifteenth  century 
96 


The  Plan 

no  screen  intervened  to  obstruct  the  view  of 
chapel  and  shrine  from  the  west :  thus  the 
choir  as  originally  built  must  have  ap- 
peared far  more  imposing  than  it  does 
today.  It  is  built  In  three  lofty  stages,  a 
main  arcade  having  narrow  pointed  arches, 
a  broad  and  lofty  triforium  and  a  still  loft- 
ier and  well-lighted  clerestory.  A  good 
stone  vault  constructed  of  chalk  and  fire- 
brick crowns  the  structure  and  it  is  sup- 
ported by  triple  vaulting  shafts  which 
spring  from  the  main  arcade. 

Around  this  central  aisle  of  the  choir 
runs  an  outer  aisle  or  ambulatory,  from 
which  six  chapels  radiate,  two  from  each 
side  and  one,  the  great  chapel  of  Henry 
VII,  from  the  central  bay  of  the  ambula- 
tory: the  chantry  of  Henry  V  is  inserted 
in  the  triforium  level  over  the  ambulatory 
at  the  central  bay  and  is  entered  from  the 
Confessor's  chapel  at  the  east.  The  two 
northern  chapels  are  dedicated  to  St.  Paul 
and  St.  John  the  Baptist:  the  southern,  to 
St.  Nicholas  and  St.  Edmund,  and  all  are 
crowded  to  their  doors  with  the  tombs  and 
memorial  tablets  of  six  centuries. 

Two  other  chapels  are  entered  from  the 
ambulatory,  the  Islip  chapel  on  the  north 
and  St.  Benedict's  on  the  south:  but  these 
are  chapels  projecting  east  from  the  north 
and  the  south  transept,  and  form  no  inte- 

97 


Westminster  Abbey 

gral  part  of  the  choir,  though  for  conven- 
ience they  are  now  entered  from  its  aisles. 
The  east  aisle  of  the  north  transept,  once 
containing  three  chapels,  one  in  each  bay, 
must  also  be  studied  from  the  ambulatory, 
since  the  arches  which  connect  with  the 
transept  are  now  blocked  up  by  monu- 
ments. 

The  Lady  chapel  of  Henry  VII,  built 
on  at  the  east  in  place  of  an  Early  English 
Lady  chapel,  in  the  sixteenth  century,  is 
almost  a  church  by  itself,  having  a  central 
and  side  aisles,  and  radiating  apsidal 
chapels  at  the  east.  It  is  approached  by 
steps  east  of  the  Confessor's  chapel,  and 
through  a  broad  vestibule,  and  Hke  every 
other  part  of  the  church  is  closely  occupied 
with  monuments. 

The  general  aspect  of  this  great  eastern 
arm  of  the  church  is  that  of  a  large  mauso- 
leum to  which  the  functions  of  a  church  are 
only  subsidiary. 

The  noble  transept,  the  richest  in  Eng- 
land, consists  of  three  bays  in  each  arm, 
and  is  built,  like  the  choir,  in  three  lofty 
stages.  The  north  transept  has  both  east 
and  west  aisles:  the  south  has  an  east  aisle 
and  the  two  upper  stages  of  a  west  aisle, 
but  the  room  of  its  lower  story  is  taken  off 
to  form  the  east  walk  of  the  cloister  with- 
out. In  the  second  story  in  this  southwest 
98 


The  Plan 

aisle  is  the  old  muniment  room,  once  the 
monk's  writing  room  or  scriptorium.  At 
the  south  end  of  the  transept,  forming  a 
south  aisle,  stands  the  chapel  of  St.  Faith, 
once  used  as  a  revestry,  but  now  set  apart 
for  private  devotions  and  sometimes  used 
for  early  services.  A  small  door  at  the 
southeast  angle  of  the  transept  leads  out 
to  the  street  near  the  chapter  house,  from 
which  point  a  very  good  view  of  the  chap- 
ter house  and  of  Henry  VII's  chapel  may 
be  obtained. 

The  entire  arrangement  of  the  eastern 
arm  of  the  church  including  choir,  ambula- 
tory and  transepts,  as  seen  from  the  cross- 
ing bay,  is  one  of  great  beauty,  bringing  to 
a  common  centre,  from  every  side,  vistas 
and  views,  complex  and  intricate,  fascinat- 
ing and  bewildering  which  hold  one  enrap- 
tured. The  views  include  the  most  ornate 
and  beautiful  architecture  in  the  church, 
if  we  except  the  lavishly  ornamented 
chapel  of  Henry  VII.  The  lover  of 
Gothic  architecture  will  here  pause  long 
and  drink  in  the  full  meaning  of  the  lofty 
arches,  the  shafted  columns,  the  rich  sculp- 
tured ornament  and  the  general  effect  of 
the  mingled  colours  of  stone,  monuments 
and  stained  glass  windows. 

The  nave  running  west  of  the  crossing 
consists  of  twelve  bays  with  aisles.     The 

99 


The  Plan 

four  eastern  bays  are  closed  off  from  the 
western  bays  by  a  screen  to  form  the  ritual 
choir  in  which  are  placed  the  stalls  for  the 
clergy  and  choristers.  The  general  archi- 
tectural features  of  the  nave  are  the  same 
as  those  of  the  choir. 

The  cloister  is  entered  from  the  south 
nave  aisle  by  a  door  at  the  east,  which 
leads  into  the  east  walk  where  the  chapter 
house  is  situated:  and  by  a  door  at  the 
west  end  of  the  same  aisle,  leading  into 
the  north  walk. 

The  Jerusalem  Chamber,  a  part  of  the 
old  Abbots'  Lodgings,  and  the  Dean's 
Yard  may  be  seen  from  the  west  walk  of 
the  cloister  by  going  through  a  door  at 
the  extreme  south  end  of  the  walk;  or  else 
from  the  street.  The  Norman  Under- 
croft containing  the  chapel  of  the  Pyx:  the 
Dark  Cloister:  the  Infirmary  Court  and 
the  Westminster  School  Yard,  are  ap- 
proached from  the  east  walk  of  the 
cloister. 

It  will  be  found  that  a  pocket  compass  is 
of  great  assistance  in  locating  the  various 
portions  of  an  old  monastic  church. 


100 


CHAPTER  VI 
THE  CHOIR  AND  SANCTUARY, 

^'Methought  I  sat  in  seat  of  majesty 

In  the  cathedral  church^  of  JVestminster, 

And  in  that  chair  where  kings  and  queejis 

are  crowned, 
Where     Henry     and     Dame     Margaret 

kneeled  to  me 
And  on  my  head  did  set  the  diadem." 

Henry  VI,  Part  II,  Act  i,  Sc.  2. 

The  term  Choir,  as  used  in  a  medisEval 
church  commonly  includes  that  eastern  por- 
tion of  the  church  which  is  occupied  by  the 
celebrants  and  which  contains  the  principal 
altar.  The  easternmost  portion  of  the 
choir,  that  in  which  the  altar  is  invariably 
found,  is  called  the  presbytery. 

The  arrangement  of  the  Westminster 
choir  is,  as  we  have  seen  in  studying  the 
general  plan;  (Chap.  V),  unusual.     Here 

*This  is  an  interesting  instance  of  the  "divine 
inaccuracy"  of  Shakespeare.  Westminster  Abbey  did 
not  attain  cathedral  rank  until  nearly  a  century 
after  the  period  of  this  play,  and  had  ceased 
to  enjoy  that  honour  for  nearly  a  half  century 
when  Shakespeare  wrote. 

lOI 


Westminster  Ahhey 

the  choir  properly  consists  of  six  bays,  in- 
cluding a  presbytery  of  two  bays  with  the 
altar,  at  the  east  of  the  crossing,  locally 
called  The  Sanctuary:  and  the  four  eastern 
bays  of  the  nave  to  the  west  of  the  cross- 
ing, containing  the  stalls  for  the  clergy  and 
choristers,  called  The  Choir.  Included 
with  these  also  is  the  bay  at  the  crossing,  in 
which  the  pulpit  stands.  This  arrange- 
ment is  usual  in  Spanish  churches  but  not 
in  those  of  England: 'in  the  Norman  per- 
iod of  architecture,  however  a  single  bay 
of  the  nave  was  often  used  as  the  choir  in 
connection  with  the  tower  bay,  as  at  Nor- 
wich, Peterborough,  St.  Albans  and  Win- 
chester, the  bays  so  used  constituting  what 
was  called  the  ritual  or  working  choir: 
while  that  part  to  the  east,  containing  the 
altar,  was  the  architectural  choir. 

In  all  mediasval  Christian  churches,  the 
central  object,  that  for  which  the  church 
existed,  was  the  principal  or  high  altar. 
It  was  the  centre  of  the  monk's  devotion, 
the  object  to  which  his  thoughts  were  most 
frequently  turned.  Believing  as  he  did 
that  here  the  bread  and  wine  of  the  mass 
were  transformed  into  the  Body  and  Blood 
of  Our  Lord,  it  was  to  him  the  most  sacred 
spot  in  the  church  and  was  always  that 
which  was  most  sumptuously  furnished, 
most  lavishly  decorated.     With  the  truth 

102 


The  Choir  and  Sanctuary 

or  falsity  of  the  doctrine  of  Transubstan- 
tiation,  we  have  here  nothing  to  do:  but 
in  order  to  understand  the  meaning  of  a 
mediaeval  choir,  and  why  it  was  so  import- 
ant a  feature  of  the  church  and  its  ritual, 
it  is  necessary  to  remember  that  every 
monk  believed,  and  the  people  who  came 
here  to  worship  believed,  that  Our  Lord, 
in  actual  bodily  presence,  was  in  the  bread 
consecrated  at  the  mass;  and  for  this  rea- 
son, the  altar  containing  that  bread  was 
an  object  of  the  highest  reverence,  the 
most  sincere  devotion,  and  whatever  would 
be  offered  in  sacrifice  or  in  worship  to  the 
Lord  Himself  would  be  offered  at  this 
altar. 

The  choir  was  invariably,  and  of  neces- 
sity, the  first  part  of  a  church  to  be  built, 
since  without  the  altar  there  could  be  no 
worship:  and  when  completed,  the  church 
might  be  consecrated  whether  the  nave  and 
aisles  were  finished  or  incomplete.  If  any 
part  was  to  be  rebuilt  in  greater  beauty,  It 
was  the  choir:  if  choice  glass,  rich  pave- 
ment, fine  metal  work  or  painted  decora- 
tion was  to  be  provided  for  the  church,  it 
was  without  hesitation  directed  first  to  the 
choir,  and  In  all  cases  to  that  part  of  the 
choir  containing  the  altar.  The  most  nat- 
ural starting  point  in  the  study  of  a  mediae- 
val church  is,  therefore,  this  eastern  part 

103 


Westminster  Ahhey 

of  the  building,  the  east  arm  of  the  cross 
representing  that  on  which  Our  Lord's 
head  rested  at  the  crucifixion,  called  the 
choir. 

The  two  bays  east  of  the}  crossing,  ap- 
proached by  a  flight  of  steps  and  contain' 
ing  the  altar,  are  at  Westminster  called 
The  Sanctuary,  and  in  the  following 
description  the!  term  choir  will  be  applied 
to  those  four  eastern  bays  of  the  nave  in 
which  the  stalls  for  clergy  and  choristers 
are  situated. 

King  Henry  lived  to  see  all  of  this  east- 
ern part  of  the  church  completed.  His 
fine  taste,  his  beauty-loving  eyes,  must  have 
been  profoundly  gratified  as  he  gazed  on 
the  noble  aisles  and  stately  apse,  the  mag- 
nificent transept  and  the  noble  place  of  the 
shrine.  Here,  three  years  before  his 
death,  the  royal  founder  heard  the  music 
of  the  first  mass  ever  celebrated  within  the 
new  walls,  Oct.  13,  1269.  The  vestments 
were  of  the  richest  that  the  Abbey  chests 
afforded:  clouds  of  incense  rolled  up  to 
the  noble  vaulted  ceiling:  not  a  leaf  nor  a 
tendril  of  the  exquisitely  carved  foliage 
but  was  in  the  perfect  loveliness  of  its 
youth:  the  censing  .angels  of  stone  were 
fresh  and  fair:  the  windows  brilliant  with 
their  glories  of  ruby  and  sapphire,  emerald 
and  amber:  not  a  tomb  interrupted  the 

104 


TJie  Choir  and  Sanctuary 

perfect  view  of  arch,  aisle  and  wall  ar- 
cade :  no  trace  of  mortality  marred  the  per- 
fect beauty  of  the  stately  aisles  fresh  from 
the  hand  of  skill  and  grace.  Joy  was  in 
the  heart  of  the  King:  joy  reigned  in  the 
monastery.  But  the  King  died  and  Ed- 
ward, his  son,  reigned  in  his  stead. 

Today  the  aisles  still  stand  in  noble  dig- 
nity and  no  little  beauty,  and  as  they  once 
thrilled  the  King's  heart  with  delight,  so 
today  they  thrill  the  hearts  of  thousands, 
though  time  has  worn  away  much  of  their 
original  beauty  and  marred  the  fair  archi- 
tecture by  the  introduction  of  incongruous 
marble  monuments  which  have  little  mean- 
ing or  beauty. 

The  eastern  arm  of  the  church.  Includ- 
ing the  Sanctuary  and  the  Confessor's 
chapel,  separated  from  each  other  by  a  low 
screen,  is  the  dominating  feature  of  the 
entire  building,  a  lofty,  splendid  architect- 
ural composition,  which  has  been  the  cen- 
tre of  so  much  that  is  stately,  solemn  and 
impressive,  pathetic  and  joyous  in  the  lives 
of  the  sovereigns  of  England;  so  full  of 
historical  reminiscence  that  one  might  well 
pause  here  and  forget  other  lines  of  study 
and  meditation.  It  cherishes  the  tomb  of 
one  Queen,  the  grave  of  another.  A 
prince  and  his  bride,  and  the  founder's 
nephew  are  remembered  In  the  three  monu- 

105 


Westminster  Abhey 

ments  on  the  north  side,  perhaps  the  most 
beautiful  among  the  hundreds  of  memor- 
ials in  the  Abbey. 

The  general  effect  of  the  architecture  is 
impressive  and  admirable.  All  the  lines 
j  contribute  to  an  appearance  of  height  and 
we  know  that  it  is  the  loftiest  church  in 
England,  though  much  lower  than  the 
great  French  cathedrals.  The  arches  are 
slender  and  lofty  for  their  width :  the  walls 
of  the  apse  incline  gently  inward  to  form 
a  graceful  central  compartment:  the  east 
windows  sparkle  brilliantly  with  the  only 
considerable  remains  of  a  once  elaborate 
series  of  windows :  all  the  altar  fittings  and 
the  reredos,  though  modern,  are  of  rich 
colour  and  material  and  the  choicest  mod- 
ern workmanship.  Abbot  Ware's  costly 
mosaic  pavement  is  covered  over  with  a. 
rich  Persian  carpet. 

Choir,  nave  and  transept  are  built  in 
three  lofty  stages,  a  main  arcade,  triforium 
and  clerestory,  and  have  stone  vaults.  The 
well-proportioned  arches  of  the  main  ar- 
cade are  supported  by  heavy  round  col- 
umns surrounded,  at  rather  wide  intervals, 
by  four  slender  shafts,  a  design  which  is 
found  throughout  all  the  earlier  work;  in 
the  later  portions  to  the  west,  a  more  grace- 
ful effect  is  secured  by  the  use  of  eight 
shafts  instead  of  four.     All  the  spandril 

io6 


The  Choir  looking  East — Arrangkd  for  a  Coronation 


The  Choir  and  Sanctuary 

arches  are  richly  diapered,  as  In  the  north 
transept  at  Hereford  cathedral,  and  as  in 
numerous  Norman  churches,  Rochester, 
for  example. 

The  triforium  is  a  notable  architectural 
feature  of  the  Abbey,  beautiful  in  design,  in 
proportion  and  in  ornament  and  is  con- 
tinued in  all  its  beauty  through  the  tran- 
sept, the  eastern  bays  of  the  nave,  and 
with  something  less  of  ornament  in  the 
western  bays  as  well.  It  consists  of  two 
noble,  lofty  containing  arches  in  each  bay, 
each  subdivided,  and  is  a  contrast  to  the 
low  broad  bays  of  the  Salisbury  triforium 
which  has  the  same  general  plan.  The 
spandrils  are  richly  diapered,  as  in  the 
main  arcade,  the  mouldings  enriched  with 
sculptured  foliage :  and  the  moulded  circle 
in  the  head  of  the  arch  contains  a  beautiful 
cusped  cinquefoil.  In  the  eastern  bay  on 
each  side  and  in  the  apse  only  a  single  con- 
taining arch  finds  room,  but  elsewhere 
throughout  the  building  each  bay  contains 
two  arches.  The  clerestory  windows  are 
unusually  lofty  and  have  two  lights  with 
plainly  traceried  heads.  They  were  once 
filled  with  rich  glass. 

The  vault  is  sexpartite,  of  chalk  and  fire- 
stone,  giving  a  two-colour  effect,  and  was 
once  brilliant  with  gold  and  silver,  now 
partially  restored.     There  are  both  longi- 
107 


Westminster  Abhey 

tudinal  and  transverse  ridge  ribs,  and  the 
slender  triple  vaulting  shafts  rise  from  the 
capitals  of  the  main  arcade. 

The  proportions  throughout  the  church 
are  noticeably  lacking  in  width:  but  in  this 
eastern  arm,  the  deficiency  is  well  supplied 
by  the  immediate  environment  of  ambula- 
tory and  open,  radiating  chapels  which 
send  a  flood  of  light  from  their  lofty  win- 
dows, and  by  the  lofty,  broad  transept 
arm  which  is  immediately  adjacent  form- 
ing almost  continuous  features  of  the  three 
arcades,  so  slight  is  the  separation  caused 
by  the  delicate  group  of  the  shafts  of  the 
tower  bay. 

A  low  Screen  against  which  the  reredos 
of  the  altar  is  set,  runs  across  the  Sanctu- 
ary at  the  end  of  the  second  bay,  separat- 
ing it  from  the  Confessor's  chapel  in  the 
apse:  but  since;  this  rises  scarcely  half  the 
height  of  the  columns  of  the  main  arcade, 
the  entire  apse,  except  its  lower  portion, 
is  included  in  this  eastern  aspect.  The 
eastmost  bay  is  so  slightly  curved  inward 
at  the  beginning  of  the  apse  that  it  may 
be  considered  either  a  part  of  the  apse, 
which  would  then  have  five  compartments : 
or  as  one  of  the  bays,  and  the  apse  would 
then  consist  of  three  compartments.  The 
three  central  bays  of  the  main  arcade  of 
the  apse  have  sharp  lancet  arches  and  are 

io8 


The  Triforium  ARtAdK 


Abbot  Ware's   Pavemknt  in   the  Sanctuary 


The  Choir  and  Sanctuary 

richly  diapered  in  their  spandrils.  The 
Screen  at  the  back  of  the  reredos  dates 
only  from  the  fifteenth  century:  hence  for 
nearly  or  quite  two  centuries,  the  entire 
eastern  limb  of  the  church,  with  the  Con- 
fessor's shrine  and  Plantagenet  tombs 
in  the  apse,  were  included  in  the  eastern 
view  from  the  crossing.  Cloth  of  arras 
wrought  with  scenes  from  the  Confessor's 
life  once  hung  on  the  walls  of  the  Sanctu- 
ary and  later,  in  the  reign  of  Queen  Anne, 
wainscotting  of  wood  took  its  place,  till 
1820,  concealing  and  also  preserving  the 
beautiful  tombs,  which  could  then  be  seen 
only  from  the  side  aisles. 

The  thirteenth  century  Italian  Mosaic! 
Pavement  of  the*  Sanctuary  is  one  of  the 
most  Interesting  works  of  its  kind  now  in 
existence  and  has  recently,  with  the  Con- 
fessor's shrine  and  tomb  of  the  same 
character,  been  made  the  subject  of  special 
investigation  by  the  Italian  Government. 
The  date  of  the  pavement,  the  artist  who 
wrought  It  and  the  donor,  need  not  be 
sought  in  archives,  since  these  facts  are 
conveniently  stated  In  an  inscription  in 
brass  letters  on  one  of  the  medallions  near 
the  altar,  made  when  the  stones  were  laid: 
and  though  nearly  all  the  brass  has  disap- 
peared, the  matrices  remain  perfect  and 
one  easily  reads:  "Tertlus:  henrlcus:  rex: 

109 


Westminster  Abhey 

URBS :  Oderlcus :  et :  Abbas :  nos :  comper- 
ere:  porphyrgos:  lapides :  RI :  Millano: 
bigento :  duodano :  cum :  sexageno  :  sub- 
ducens:  quatuor:  anno."  A  free  transla- 
tion shows  that  in  the  year  of  Christ,  1268, 
King  Henry  III,  Odericus  and  the  Abbot 
together  placed  these  porphyry  stones. 
The  pavement  was  therefore  wrought 
when  the  Sanctuary  was  completed,  in  the 
King's  lifetime  and  under  his  supervision, 
Abbot  Ware  assisting,  by  Odericus,  a 
Roman  citizen,  bought  hither  for  the  pur- 
pose. 

In  1258,  Abbot  Richard  de  Ware,  going 
to  Rome  to  secure  the  papal  confirmation 
of  his  election,  lingering  by  the  way  for 
nearly  two  years,  became  familiar  with  the 
Italian  art  of  the  period,  as  displayed  in 
the  numerous  churches  of  Italy:  and  on  a 
second  visit,  nine  years  later,  by  order  of 
the  King,  who  would  naturally  be  inter- 
ested in  obtaining  everything  beautiful, 
from  any  source,  for  his  new  church,  we 
find  the  Abbot  collecting  material  not  only 
for  the  Shrine  to  be  built  and  adorned  in 
the  Italian  manner,  but  also  for  this  "very 
curious  and  rare  pavement."  In  France,  it 
is  said,  he  purchased  from  the  ruins  of  a 
destroyed  building,  red  and  green  por- 
phyry, lapis  lazuli,  jasper,  alabaster  and 
Lydian,   Carrara   and  Phrygian  marbles. 

no 


The  Clwir  and  Sanctuary 

For  the  proper  fitting  together  of  the 
pavement  he  brought  from  Rome  an  ex- 
perienced workman. 

The  pavement  mosaic  is  called  Opus 
Romanum*  and  is  constructed  of  rich 
stones  in  pieces  varying  in  size  from  less 
than  half  an  inch  to  four  inches,  a  few  of 
porphyry  being  larger,  set  in  a  ground  of 
English  Purbeck  marble.  The  central 
feature  of  the  design  is  a  circular  plane  of 
clouded  porphyry,  two  and  a  half  feet  in 
diameter,  around  which  were  set  small  six- 
rayed  stars  of  lapis  lazuli,  pea  green  and 
white.  These  are  enclosed  by  a  band  of 
alabaster,  bordered  by  a  circle  of  red 
and  green  lozenges  forming  triangles. 
Around  this  central  design  is  a  border 
of  circles  and  parallelograms  intersect- 
ing each  other  in  the  guilloche  manner, 
each  square  and  circle  being  filled  with  a 
variety  of  smaller  designs  made  up  of  tiny 
pieces  of  marble.  "The  grouping  of  col- 
ours and  the  rest  given  at  intervals  is 
so  judicious,  producing  such  an  exquisite 
harmony  of  colour,  that  nothing  better 
could  be  produced  by  the  brush  and 
palette." 

Odericus,  the  Roman  workman,  would 
seem  to  have  been  a  member  of  the  famous 
Cosmati  family  of  Italy  or  else  a  pupil,  the 

♦Chevalier  Formilli. 

Ill 


Westminster  Ahheij 

CosmatI  being  celebrated  as  workers  in 
marbles  who  founded  a  school  for  the 
practice  of  their  arts.  They  were  known 
all  over  the  Continent  and  to  possess  even 
a  column  decorated  by  their  skill  ''was 
c  almost  as  precious  as  to  possess  the  relic 
of  a  saint."  The  family  wrought,  it  was 
said,  more  for  God  and  the  Church  than 
for  money,  and  wrought  with  the  religious 
zeal  that  inspired  Angelico's  frescoes. 
They  made  the  sign  of  the  cross  at  the 
beginning  and  the  end  of  their  daily  work 
and  sang  hymns  of  praise  to  God  as  they 
toiled. 

From  Abbot  Ware's  store  of  precious 
stones  were  constructed  the  decorations  of 
the  Confessor's  shrine:  the  pavement  of 
his  chapel:  and,  with  some  additions,  the 
tomb  of  Henry  III  and  the  tombs  of  the 
royal  children  in  the  south  ambulatory. 

The  north  side  of  the  Sanctuary  pave- 
ment is  that  in  the  best  state  of  preserva- 
tion, and  the  visitor  will  readily  recognize 
the  design  as  that  which  Holbein  used  in 
his  well-known  picture,  "The  Ambassa- 
dors," at  the  National  Gallery  in  London. 

An  interesting  feature  of  the  pavement 
was  an  inscription,  "circularly  written  in 
letters  of  brass,"  which  Widmore,  the  pa- 
tient eighteenth  century  librarian  and  his- 
torian of  the  Westminster  chapter,  trans- 

112 


The  Clioxr  and  Sanctuary 

lates  as  a  poetical  prophecy  that  the  world 
was  to  endure  19,683  years,  according  to 
the  Ptolemaic  system.  The  inscription 
(translated)  reads: 

"A  three-fold  hedge,  dogs,  horses  and  men, 
Deer  and  ravens,  eagles,  huge  whales.  The  World. 
That    which     follows    triples    the    foregoing    year. 
This,  a  spherical  globe,   shows  the  original  micro- 
cosm." 

This  involved  and  mysterious  inscription 
is  thus  interpreted: 

A  three-fold  hedge  stands  for  three  years,  the 
time  a  dry  hedge  is  supposed  to  last,  and,  following 
the  direction,  "that  which  follows  triples  the  fore- 
going year";  the  life  of  a  dog  is  three  times  three, 
or  nine  years :  of  a  horse,  three  times  nine  or 
twenty-seven  years :  of  a  man,  three  times  twenty- 
seven,  or  eighty-one  years,  etc.,  etc.,  and  three  times 
2187,  the  whale's  life,  again  multiplied  by  three,  gives 
the  19,683  years  of  the  world's  duration. 

Abbot  Richard  Ware  died  in  1283,  in 
the  reign  of  Edward  I,  having  outlived  his 
King,  and  is  buried,  with  three  other  ab- 
bots of  his  period,  on  the  north  side  of  the 
Sanctuary  beneath  this  beautiful  pavement 
which  is  his  monument.  But  his  name 
lives  also  in  the  Consuetudines,  a  large 
volume  containing  the  customs  and  rules 
of  the  monastery  and  the  duties  of  its  offi- 
cers, which  was  compiled  under  his  direc- 
tion. The  book  was  kept  in  a  chest  by 
itself  "because  of  the  secrets  of  our  order 
contained  therein."  A  small  part  of  it, 
saved  from  a  destructive  fire,  has  recently 

113 


Westminster  Abbey 

been  deciphered  and  printed.  The  Abbot 
was  much  in  the  confidence  of  Edward  I, 
as  well  as  of  Henry  III,  and  a  few  years 
before  his  death  was  appointed  Treasurer 
of  England.  The  chapter  house  was 
entirely  completed  during  his  abbacy 
( 1 258-1 283),  and  he  probably  gave  to  it 
the  beautiful  and  interesting  tiles  which 
still  remain  in  almost  perfect  condition,  the 
finest  series  of  the  sort  remaining  in  Eng- 
land. 

Hidden  away  under  the  Sanctuary  pave- 
ment, in  their  original  position,  are  the 
only  remaining  portions  of  the  Norman 
church  of  Edward  the  Confessor,  consist- 
ing of  a  part  of  the  curve  of  the  apse  foun- 
dation and  the  so-called  bases  of  three  of 
the  Norman  piers  of  the  apse,  now  made 
visible  by  means  of  small  trap-doors 
cut  in  the  floor.  They  were  found 
three  feet  below  the  present  floor,  and 
are  really  the  stumps  not  of  actual  piers 
but  of  responds  and  one  of  them  is  only 
a  part  of  the  plinth  stone. 

"It  seems  obvious*  that  the  one  to  the 
east  must  have  been  one  of  the  responds 
to  the  arch  opening  to  the  apse,  and  a  com- 
parison with  a  series  of  early  Norman 
plans  fully  confirms  this  view.  The  fact 
that  just  those  parts  remain  which  would 
♦Lethaby. 

114 


The  Choir  and  Sanctuary 

represent  piers  attached  to  'walls  rather 
than  isolated  pillars  made  up  of  grouped 
members,  would  be  very  remarkable  at  so 
early  a  date,  especially  in  the  short  length 
of  the  presbytery." 

Two  of  these  bases  are  on  the  north 
side,  between  the  aisle  and  the  Sanctuary. 
The  east  pair  inclined  inward  so  that  the 
space  between  the  eastern  piers  must  have 
been  fully  two  feet  six  inches  less  than  the 
space  between  the  pair  at  the  west.  They 
seem  to  have  stood  against  the  arcade, 
open  or  closed,  which  ran  between  the 
presbytery  and  its  aisle. 

The  apse  foundation  was  discovered 
quite  recently  while  excavations  were  being 
made  under  the  Confessor's  chapel*  to  the 
east  of  the  small  south  door  in  the  screen 
between  the  chapel  and  the  Sanctuary.  It 
is  the  concave  curve  of  a  foundation  wall 
of  concreted  rubble,  chiefly  of  flints  and 
tending  north  and  south.  It  was  discov- 
ered not  quite  six  feet  below  the  surface 
and  was  filled  in  above  with  rubbish. 
Roman  tiles  and  fragments  of  Roman  ma- 
sonry were  discovered  on  the  apse  founda- 
tion, but  whether  bonded  with  it  or  merely 
laid  on  as  a  covering  was  not  evident. 

The  low  iron  railing  which  separates 
the  Sanctuary  from  the  crossing  is  a  beau- 
*Arch.  62 :  99. 

IIS 


Westminster  Ahhcy 

tiful  specimen  of  modern  ironwork,  having 
patterns  of  scrolls,  foliage  and  small  roses, 
painted  and  gilt. 

The  fine  old  wooden  sedilia,  or  seats 
for  the  officiating  clergy,  on  the  south  side 
of  the  altar,  are  the  oldest  furnishings  of 
the  Sanctuary  now  remaining  and  are 
thought  to  date  from  the  time  of  Edward 
II  (1307-1327),  hence  are  almost  as  old 
as  the  building  itself.  There  are  four 
seats  having  lofty  wooden  canopies,  once 
elaborately  painted  on  their  backs  with  tall 
figures,  four  on  the  north  and  four  on  the 
south  side  :  but  only  two,  on  the  north  side, 
remain,  thought  to  represent  Siebert  and 
Henry  III :  and  the  traces  of  two  others, 
which  may  have  been  Edward  the  Confes- 
sor and  the  Pilgrim.  These  seem  to  have 
been  destroyed  wilfully :  Neale  found  marks 
of  a  plane  with  which  they  had  been 
smoothed  down. 

The  painted  decorations  are  of  much 
interest  on  account  of  their  early  date  and 
were  done  in  gesso,  or  plaster  laid  on 
wood.  The  sedilia  were  also  enriched  on 
the  front  of  the  canopy  with  glass  enamel, 
iridescent  pearl,  and  glass  set  in  silver 
foil.  Two  of  the  corbels  are  heads,  one 
of  a  king,  and  one  of  an  abbot  or  else  a 
bishop  with  his  mitre,  both  crown  and 
mitre  being  painted  to  Imitate  jewels:  the 

116 


The  Choir  and  Smictuary 

faces  are  youthful  and  were  once  coloured 
like  life. 

The  modern  reredos,  designed  by  Scott, 
is  rich  with  colour,  marbles  and  gold,  and 
forms  part  of  the  low  fifteenth  century 
screen  occupying  the  entire  width  of  the 
aisle.  The  central  design  is  a  rich  mosaic 
by  Salviati,  representing  The  Last  Supper. 
Beautiful  tabernacle  work  extends  above 
and  around  this  group,  filling  the  entire 
space  between  the  two  traceried  doors 
which  lead  one  on  either  side,  to  the  Con- 
fessor's chapel  in  the  rear.  In  the  cano- 
pied niches  are  set  marble  figures,  including 
those  of  Moses  and  David,  representing 
statesmen  and  poets,  the  former  on  the 
north,  looking  towards  the  Statesmen's 
aisle,  as  the  north  transept  is  called,  and 
David,  with  his  harp^  on  the  side  nearest 
the  south  transept,  or  Poets'  Corner:  St. 
Peter  and  St.  Paul  stand  on  either  side  of 
the  central  group.  The  modern  frieze 
contains  reliefs  representing  scenes  in  the 
life  of  our  Lord,  thus  corresponding  to 
the  frieze  of  the  screen  at  the  back  in 
which  scenes  from  the  Confessor's  life  are 
portrayed.  The  two  doors,  and  in  gen- 
eral, the  arrangements  of  the  screen,  are 
reminiscent  of  those  at  Winchester  and  St. 
Albans,  though  much  less  elaborately  dec- 
orated.    The    sixteenth   century   reredos, 

117 


Westminster  Ahhey 

pictured  in  the  Islip  Roll,  was  surmounted 
by  the  figures  of  Saints  Peter  and  Paul, 
while  above,  on  what  appears  to  be  a  small 
platform,  was  The  Crucifixion,  with  Mary 
and  John. 

The  three  canopied  Gothic  Tombs  under 
the  arches  on  the  north  side  of  the  Sanctu- 
ary are  among  the  most  beautiful  in  the 
Abbey  or  in  England.  That  to  the  east  in 
memory  of  a  King's  son  is  the  largest  and 
richest  and  occupies  an  entire  bay:  while 
the  other  two  together  occupy  the  westmost 
bay.  The  outer  sides  of  the  two  eastern 
tombs  are  seen  satisfactorily  only  from  the 
ambulatory,  since  the  public  is  not  admitted 
within  the  Sanctuary:  but  the  westmost 
must  be  seen  from  the  Sanctuary  steps,  as 
the  rear  is  concealed  by  a  large  modern 
monument.  This  is  the  monument  of 
young  Aveline,  Countess  of  Lancaster, 
who  died  In  1274,  wife  of  Henry  Ill's  sec- 
ond son,  Edmund  Crouchback.  The  three 
tombs  are  of  very  similar  design  and  were 
evidently  the  work  of  the  same  hand,  but 
this,  the  simplest  and  most  delicate,  is  sin- 
gularly fitting  to  commemorate  the  beauti- 
ful young  bride  whose  marriage  was  the 
first  to  take  place  within  the  Abbey,  and 
her  grave,  after  that  of  Edward  the  Con- 
fessor, probably  the  first  to  be  made  here. 

She  was  the  beautiful  daughter  and  heir- 

118 


The  Choir  and  Sanctuary 

ess  of  William  de  Fortibus,  Earl  of  Albe- 
marle, was  married  to  Edmund  Crouch- 
back,  Earl  of  Lancaster,  in  April,  1269, 
and  her  bridal  procession  was  the  first  to 
pass  under  the  noble  arches  of  the  King's 
new  church,  she  being  then  but  eighteen 
years  of  age.  The  King  considered  her 
a  suitable  match  for  his  second  son  on 
account  of  her  high  rank,  her  splendid 
prospects — she  was  the  richest  heiress  in 
the  kingdom — and  her  remarkable  beauty. 
Through  her  mother  she  received  the  es- 
tates of  the  Earl  of  Devonshire  and  the 
Isle  of  Wight.  The  wedding  was  cele- 
brated with  great  pomp  and  solemnity,  but 
the  Prince  soon  departed  on  a  crusade  to 
the  Holy  Land,  and  before  his  return 
(some  accounts  say  during  the  first  year  of 
her  marriage)  Aveline  died.  The  King 
gave  her  an  honourable  place  of  burial,  not 
in  the  Confessor's  chapel,  where  were 
made  the  tombs  of  himself  and  his  oldest 
son,  but  in  the  Sanctuary,  near  the  high 
altar.  As  she  died  childless,  her  great 
possessions  fell  to  her  husband,  who,  after 
a  time,  married  Blanche,  the  widowed 
Queen  of  Navarre,  and  with  Aveline's 
wealth,  he  became  the  founder  of  the  pow- 
erful house  of  Lancaster. 
i  Aveline's  tomb  today  is  almost  patheti- 
cally   delicate    and    beautiful.     It    stands 

119 


Westminster  Abbey 

lower  than  either  of  the  two  beyond  it,  and 
in  size,  appearance  and  in  purity  of  design, 
even  if  the  effigy  were  lacking,  would  sug- 
gest a  youthful  occupant.  It  is  an  altar 
tomb  of  brown  freestone  with  effigy  and  an 
arched  canopy  with  crockets  and  finials.  It 
was  originally  open  to  the  outer  aisle,  but 
has  been  walled  in  on  the  north  side  by  a 
towering  modern  monument.  The  span- 
drils  of  the  trefoiled  arch  are  wrought 
with  vines,  fruit  and  foliage,  an  early  ex- 
ample in  England,  of  the  use  of  natural 
foliage,  but  consistent  with  the  advanced 
nature  of  the  ornament  in  the  transept  and 
apsidal  chapels,  and  not  improbably  carved 
by  the  same  hands.  A  moulded  trefoil 
decorates  the  pediment  of  the  arch. 

The  graceful  effigy  lies  gently  and  deli- 
cately on  its  stone  couch,  the  small  hands 
meekly  clasped  in  prayer  displaying  beau- 
tiful rounded  arms:  the  robe  and  flowing 
mantle  are  draped  in  graceful  folds:  and 
she  wears  the  wimple  and  gorget  of  the 
period.  Her  feet  rest  against  two  dogs 
playing:  the  two  pillows  are  decorated  in 
red  and  gold,  while  angels  guard  her  pretty 
head.  Six  small  figures  of  "weepers"  or 
mourners,  under  little  arched  canopies, 
appear  on  the  base  of  the  tomb,  all  but  two 
now  headless.  The  inner  side  of  the  cano- 
py shows  traces  of  painted  vines  and 
1 20 


The  Choir  and  Sanctuary 

grapes:  and  historical  scenes  were  once 
represented  here,  and  the  Annunciation 
was  painted  in  the  trefoil  at  the  head.  The 
mouldings  were  painted  red,  and  one  bears 
a  great  star  on  a  black  ground.  The  can- 
opy arch  is  studded  with  stone  rosettes 
and  has  a  foliage  boss. 

In  the  second  canopied  tomb  to  the  east 
lies  Edmund  Crouchback,  Earl  of  Lancas- 
ter, second  son  of  Henry  III,  and  husband 
of  the  Countess  Aveline,  who  died  in  1296. 
It  is  the  largest  and  richest  tomb  of  the 
group  of  three,  being  that  of  a  King's  son. 


PRINCE  EDMUND   IN    HIS   CRADLE.    FROM   AN   EARLY   MS. 

The  Earl  was  surnamed  Crouchback,  not, 
as  was  once  supposed,  on  account  of  a  de- 
formity, but  because  of  the  crouch  or  cross 
he  wore  embroidered  on  his  habit  after  he 
had  vowed  to  make  the  crusade.  He  was 
said  to  be  a  popular  commander,  though 
not  always  successful  in  his  military  under- 
takings, a  good  friend  and  liberal  to  the 
church.  The  Earl  died  at  Bayonne,  hav- 
ing failed  in  an  expedition  undertaken  with 
William   de   Valence,    his    father's   half- 

121 


Westminster  Ahhey 

brother,  for  the  defense  of  the  EngllsK 
possessions  in  Gascogny,  of  disappoint- 
ment and  chagrin,  it  is  said,  being  deserted 
by  his  soldiers  whom  he  lacked  money  to 
pay.  He  directed  that  his  body  should  not 
be  taken  to  England  until  all  his  debts  were 
paid,  and  this  was  accomplished  the  follow- 
ing year. 

The  large  rich  altar  tomb  with  effigy  and 
triple  canopy  was  once  brilliant  with  gilt 
and  colour,  and  was  probably  erected  by 
his  son,  Henry  of  Monmouth,  during  the 
closing  years  of  the  reign  of  Edward  I. 
The  under  side  of  the  canopy  was  once 
painted  blue  and  studded  with  gold  stars, 
simulating  the  sky  above  the  quiet  sleeper's 
face.  The  effigy  represents  the  Earl  in  the 
full  armour  of  the  period,  with  helmet, 
long  sword  and  surco^t  once  painted  with 
his  arms,  worn  over  the  coat  of  mail  to 
protect  the  metal  from  the  hot  rays  of  an 
eastern  sun.  The  legs  are  crossed  below 
the  knees:  the  position  is  easy  and  grace- 
ful: the  hands  are  upraised  in  prayer:  the 
head  i^  supported  by  angels  and  the  feet 
rest  against  a  lion.  A  series  of  "weepers" 
or  mourners  appear  on  the  base  of  the 
tomb,  on  the  north  and  south  sides,  each 
figure  under  a  crocketted  arch,  all  wearing 
crowns  or  coronets.  The  painted  figures 
on  the  north  side,  much  worn  away,  are 

122 


The  Choir  and  Sanctuary 


TWO   OF   THE   TEN    KNIGHTS   PAINTED   ON   CROUCHBACk's 
TOMB 

said  to  represent  the  Earl,  his  brother, 
Edward  I,  and  the  four  barons  and  four 
earls  who  accompanied  them  to  the  Holy 
Land.  The  figures  are  well  wrought  and 
of  much  interest. 

The  beautiful  canopy  over  the  broad 
altar  tomb  has  three  arches,  the  central  one 
much  larger  than  the  other  two,  and  rises 
high  above  the  tomb,  such  height  being 
required  of  all  medieval  tombs  placed  in 
the  vicinity  of  the  high  altar  in  order  not 
to  obstruct  the  view.  The  principal  arch 
has  rich  crockets  and  finials.  The  span- 
drils  are  carved  with  foliage:  brackets 
which  once  supported  figures  of  angels  ap- 
pear on  either  side.  A  beautiful  carved 
123 


Westminster  Ahhey 

figure  In  bold  relief  of  a  mounted  knight 
in  full  armour  is  seen  in  the  trefoil  which 
ornaments  the  pediment  of  the  arch,  the 
knight  bearing  a  shield,  the  horse  capari- 
soned, but  not  at  speed  as  in  the  tomb  to 
the  west,  but  with  head  downcast,  as  if 
stepping  slowly  or  standing  still.  The 
knight's  eyes  are  open,  the  face  is  ani- 
mated. The  folds  of  the  mantling  on  his 
helmet  appear,  resembling  wings,  flying  at 
the  back  of  his  head.*  The  horse  was 
painted  dappled  brown  and  white:  the  but- 
tresses of  the  monument  were  richly  inlaid 
with  red  and  blue  glass  mosaic  set  in 
cement.  The  ground  of  the  figure  in  the 
trefoil  was  of  dark  blue  powdered  with 
golden  fleur  de  lis,  a  device  much  in  evi- 
dence in  England  so  long  as  she  retained 
her  possessions  in  France.  Altogether, 
the  general  aspect  of  the  tomb  In  its  vivid 
and  various  colours  must  have  been  far 
other  than  it  is  today  in  its  sombre  brown 
stone  and  It  Is  an  open  question  whether  we 
of  the  present  century  would  have  admired 
it  as  much  as  did  the  artist. 

♦This  mantling  or  mantlet,  such  as  is  seen  on 
the  show  helmets  of  the  Knights  of  the  Bath  in 
Henry  VII's  chapel,  was  originally  a  silken  veil  in- 
tended to  protect  the  helmet  and  shoulders  from  the 
dust  and  hot  sun  of  an  eastern  climate.  It  was  some- 
times made  so  long  as  to  be  inconvenient  and'  Sir 
John  Chandos  lost  his  life  in,  battle  through  trip- 
ping on  his  mantlet  and  being  run  down  before  he 
could  be  assisted  to  rise. 

124 


The  Choir  and  Sanctuary 

The  middle  tomb  in  this  group  of  three 
is  that  of  Aymer  de  Valence,  Earl  of  Pem- 
broke, who  died  in  1324,  the  son  of  Henry 
Ill's  half  brother,  William  de  Valence: 
hence  cousin  to  Edmund  Crouchback  and 
Edward  I.  It  is  intermediate  in  size  be- 
tween the  other  two  tombs  with  which  it 
forms  a  harmonious  group.  This  Earl  was 
a  tall,  pale  man,  useful  to  the  King  in  his 
Scotch  wars,  and  in  disposing  of  Piers 
Gaveston,  having  promised  Edward  I  on 
his  deathbed  that  he  woiild  rid  the  kingdom 
of  this  unwholesome  favourite  of  the  sec- 
ond Edward.  The  Earl  was  killed  at  a 
tilting  match,  it  is  said,  on  the  occasion  of 
his  marriage  festivities  in  honour  of  his 
third  wife,  Margaret,  daughter  of  Guy  de 
Chatillon,  but  it  is  more  probable  that  he 
was  assassinated  or  else  died  a  natural 
death  in  France.  It  was  this  Earl  who 
erected  the  beautiful  enamelled  tomb  in 
St.  Edmund's  chapel  to  his  father,  William 
de  Valence,  Henry  Ill's  half-brother. 

The  effigy  is  that  of  a  tall  man  in  surcoat 
and  chain  armour,  the  hands  upraised  in 
prayer,  a  lion  at  his  feet.  Mutilated  frag- 
ments of  three  figures  appear  at  the  head, 
two  of  them  apparently  angels  upholding 
in  their  arms  and  presenting  to  heaven  a 
kneeling  figure  which  represents  the  soul 
of  the  dead  warrior. 

125 


Westminste?'  Ahhey 

The  beautiful  canopy  of  a  single  arch  Is 
richer  than  that  of  the  Countess  Aveline, 
but  less  ornate  than  that  of  Crouchback: 
Scott  considered  the  workmanship  superior 
to  either  of  the  other  tombs  of  the  group. 
The  spandrils  of  the  arches,  the  crockets, 
finlals  and  every  detail,  are  exquisitely 
carved.  A  knight  gallantly  appears  in  the 
trefoil  of  the  pediment  of  the  arch,  his 
long  mantlet  flying  at  his  head.  Eight 
"weepers"  are  carved  in  the  arcade  on  the 
north  side  of  the  base  of  the  tomb  and  as 
many  on  the  south  side,  nearly  all  now- 
headless,  very  similar  in  appearance  to 
those  on  the  other  tombs  of  the  group,  and 
from  the  shields  of  arms  above  their  heads 
are  supposed  to  represent  kindred  and  alli- 
ances. 

The  three  tombs  were  evidently  designed 
by  the  same  hand  and  that  a  skillful  one, 
but  the  details  of  Aymer's,  later  in  date, 
are  more  carefully  wrought  out.  Th  effi- 
gies are  very  similar:  in  each  the  arcaded 
base  bears  a  series  of  small  figures,  six  In 
that  of  the  Countess:  eight  in  that  of  the 
Earl  of  Pembroke  and  ten  in  that  of  the 
Earl  of  Lancaster.  The  pedlmented  cano- 
pies are  of  precisely  the  same  design, 
though  varying  in  size,  and  the  decora- 
tions are  similar.  The  natural  foliage 
indicates     fourteenth    century    work  and 

126 


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4 


,  St.  Paura  CbapeV. 


.  Catherine's  Chapel. 


oi  Weatminater  Abbey  and  of  its  early  Eu 

1.  St.     John     the     Baptist's  21. 
ChflDH. 

illp's   Ctanpel. 

__sl  CIol  '  - 

Vestibule 

Cbaptei 

riolHter 

West  Cloister.'  ; 

South    CloiBter.  f 

TTadercroft  and   Cbapel  of  i 

Dark   Cloister.  '   now 'College' Hall/ 


East  Cloister. 
Vestibule  to  eb 
Chapter  House 


Little  Dean' 
Blackstole  1 


The  Choir  and  Sanctuary 

probably  all  may  be  dated  after  the  death 
of  Aymer. 

West  of  the  Sedilia  is  the  tomb  of 
Anne  of  Cleves,  who  died,  in  1557,  the 
fourth  Queen  of  Henry  VIII,  and  the 
only  one  who  has  a  contemporary  monu- 
ment in  any  church,  that  of  Catherine 
of  Aragon  in  Peterborough  cathedral 
being  modern.  The  tomb  is  large  but  by 
no  means  beautiful  and  has  an  unfinished 
appearance.  It  is  on  the  south  side  of  the 
Sanctuary  in  the  westmost  bay,  and  is  a 
long,  low,  gray  Purbeck  altar  tomb,  with- 
out canopy  or  efBgy,  though  a  canopy  was 
originally  intended.  It  is  so  inconspicu- 
ous that  it  appears  to  be  merely  a  stone 
bench  slightly  ornamented  with  carvings. 

The  Lady  Anne's  story  is  very  well 
known.  She  was  the  sister  of  William, 
Duke  of  Cleves,  a  Lutheran  prince  of  Ger- 
many, and  in  1540  came  over  to  England 
with  a  very  costly,  elaborate,  but  (in  Eng- 
lish eyes)  outlandish  trousseau,  to  be  the 
fourth  wife  of  Henry  VIII,  after  the 
death  of  the  beautiful  Jane  Seymour.  The 
elderly,  disreputable  royal  tyrant,  of  ugly 
person  and  mean  heart,  was  disappointed 
in  the  Dutch  bride,  and  happily  for  her, 
within  six  months  of  their  marriage, 
offered  her  a  divorce,  which  she  accepted 
with  unflattering  eagerness.     Within  four 

127 


Westminster  Ahhei/ 

weeks,  the  King  married  the  unfortunate 
Katherine  Howard.  The  Lady  Ann  out- 
lived her  two  successors  and  the  King  him- 
self, and  enjoyed  her  freedom  and  ali- 
mony, also  her  magnificent  trousseau 
(which  she  greatly  admired),  wearing 
each  day  for  a  long  time  a  new  gown,  each 
more  elaborate  than  the  last.  Her  resi- 
dence was  chiefly  in  the  palace  of  Rich- 
mond, which  was  granted  her  for  life,  and 
she  entered  with  joyous  spirits  into  the 
sports  and  recreations  of  her  adopted 
country. 

By  the  King's  decree  she  was  to  have 
precedence  of  all  ladies  of  the  Court  except 
his  daughters  and  his  future  consort,  and 
she  found  herself  well-esteemed  in 
the  new  country.  We  read  of  her  visiting 
and  exchanging  gifts  with  the  Princess 
Mary:  of  a  visit  to  the  Court  of  her  step- 
son, Edward  VI ;  she  rode  in  state  at 
Queen  Mary's  coronation  and  enjoyed  the 
friendship  of  the  Princess  Elizabeth. 

She  died  at  her  palace  at  Chelsea  in 
1557,  at  the  age  of  41  having  gained  the 
esteem  of  all  who  lived  near  her.  Her 
will  shows  the  most  tender  thoughtfulness 
for  even  the  humblest  of  her  dependents. 
She  died  a  Roman  Catholic,  possibly  influ- 
enced to  a  change  from  her  Lutheran  faith 
by  the  young  Queen  Mary:  but  in  a  letter 

128 


The  Choir  and  Sanctuary 

written  by  her  brother  to  the  Queen  the 
year  before  the  Lady  Anne's  death,  he 
complains  that  his  sister  harbours  in  her 
family  three  persons,  Jasper  Broickhusen 
and  his  wife  and  one  Bastard  of  Wylick, 
who  "by  their  pernicious  doctrines  and 
marvellous  impostures  appear  to  have 
driven  her  mad,"  and  asks  Queen  Mary 
to  banish  them  from  England. 

The  Queen  ordered  that  royal  honours 
be  paid  the  Lady  Anne  at  her  funeral  and 
that  she  should  be  honourably  interred  in 
the  Sanctuary  at  Westminster  Abbey. 
The  stately  obsequies  are  described  In 
Machyn's  Diary,  The  body  was  met  at 
Chelsea  by  the  Abbot  and  monks  of  West- 
minster, with  Bishop  Bonner  and  a  long 
train  of  nobles,  monks,  scholars,  almoners 
and  dependents :  was  received  at  the  Abbey 
under  a  black  velvet  canopy,  and  placed 
In  a  rich  hearse  with  seven  great  palls,  and 
so  rested  all  night,  with  tapers  burning, 
before  the  high  altar.  The  next  day,  Ab- 
bot Feckenham  preached  "as  goodly  a 
sermon  as  ever  was  made."  The  grave 
was  lined  with  black  and  Into  It,  accord- 
ing to  the  custom  at  royal  funerals,  heralds 
broke  their  white  wands  and  officers  of  the 
household  their  staves.  Afterwards,  mass 
was  said  by  Bonner,  "In  his  mitre,"  and 
the  Abbot  gave  a  grand  dinner  to  all  the 
129 


Westminstei'  Ahhei/ 

mourners.  This  funeral  is  of  particular 
interest  as  a  royal  funeral  conducted  dur- 
ing the  few  years  In  which  the  monastery 
was  restored  under  Queen  Mary. 

Anne  of  Cleves'  tomb,  undoubtedly 
erected  by  the  Queen's  orders,  was 
designed  by  Theodore  Haveus,  a  native  of 
Cleves,  who  also  wrought  at  Caius  Col- 
lege, Cambridge,  and  is  always  spoken  of 
as  one  of  the  earliest  tombs  in  England  on 
which  the  skull  and  crossbones  decoration, 
so  familiar  in  later  monuments,  was  used. 
Had  the  canopy  which  was  Intended  for 
the  tomb  been  erected  It  must  have 
been  a  great  blemish  to  the  beauty  of  the 
Sanctuary.  The  long,  low  altar  tomb  is 
of  freestone  having  two  pedestals  at  either 
end.  The  sides  are  carved  with  funeral 
urns,  and  with  Renaissance  panels  painted 
black  and  wrought  with  grewsome  skull 
and  bones :  also  with  the  initials  A.  C* 
On  two  of  the  large  pillars  appears  a  mon- 
ogram enclosed  In  a  medallion  and  sur- 
mounted by  a  crown:  also  the  arms  of 
Cleves.  The  gullloche  pattern  which  ap- 
pears in  the  decorations  Is  precisely  like 
that  on  the  Confessor's  shrine. 

Another  less  fortunate  Queen  is  buried 
in  this  vicinity,  Anne  Neville,  the  unhappy 

*In  i86s,  a  bas  relief,  evidently  intended  for  this 
monument,  was  found  in  the  revestry. 

130 


The  Choir  and  Sanctuary 

wife  of  Richard  III,  daughter  of  the  Earl 
of  Warwick,  the  King-maker:  but  no 
memorial  of  her  exists  here.  She  was  the 
youthful  widow  of  Henry  VI's  son  and 
heir,  who  was  murdered  after  the  battle 
of  Tewkesbury  by  Richard.  Disguise  as 
a  menial  could  not  protect  her  from  the 
cunning  search  of  the  brutal,  venomous 
hunchback  who  became  Richard  III.  Her 
beloved  son,  Edward,  born  in  1474,  was 
nine  years  old  when  Richard  and  Anne 
were  crowned  by  Cardinal  Morton,  very 
near  the  spot  where  her  grave  was  made. 
The  following  year,  1484,  the  child,  idol- 
ized by  both  father  and  mother,  died  "an 
unhappy  death,"  and  from  this  time  the 
young  Queen's  life  knew  neither  health 
nor  happiness.  She  died  in  1485,  and  the 
King  accorded  her  a  very  grand  funeral 
and  buried  her  by  the  high  altar,  near 
Anne  of  Cleves'  later  tomb. 

A  large  and  beautiful  contemporary 
portrait  of  Richard  II  as  a  boy,  which 
once  hung  in  the  Jerusalem  Chamber,  now 
finds  place  above  the  tomb  of  Anne  of 
Cleves  and  is  of  particular  interest  as  be- 
ing the  oldest  contemporary  portrait  of  an 
English  sovereign  in  existence.  It  has 
been  freely  restored  in  recent  years.  The 
handsome  King,  son  of  the  Black  Prince 
and  fair  Joan  of  Kent,  is  here  represented 

131 


Westminster  Ahhey 

as  a  child  of  eleven  In  the  robes  in  which 
he  was  crowned,  seated  in  the  Coronation 
Chair  under  which  rests  the  Stone  of 
Scone.  The  boyish  face  has  an  earnest 
expression:  the  hair  is  well  puffed  out  at 
the  sides :  the  crown  is  high :  the  long,  rich 
crimson  coronation  robe  is  lined  and  bor- 
dered with  ermine  and  has  a  collar  of  the 
same:  the  vest  is  of  green  flowered  with 
gold  and  the  initials  of  his  name :  his  shoes 
(one  of  which  was  lost  off  when  a  sportive 
nobleman  snatched  the  boy  up  in  his  arms 
after  the  ceremony)  are  of  gold  powdered 
with  pearls  and  had  been  blessed  by  the 
Pope.     He  bears  both  sceptre  and  orb. 

The  details  of  the  painting  are  of  much 
interest  as  typical  of  the  art  of  the  period. 
The  wooden  panel  on  which  the  picture  is 
painted  Is  six  feet,  eleven  Inches  long,  and 
three  feet,  seven  Inches  broad,  and  Is  plas- 
tered over  and  gilt,  the  surface  being  pow- 
dered with  embossed  crosses  and  golden 
flowers.  The  white  stag,  the  King's  spe- 
cial emblem,  as  It  was  that  of  his  mother, 
appears  once  on  his  robe  below  the  belt, 
and  once  on  the  right  shoulder.  A  picture 
of  this  King  may  be  seen  in  a  beautiful 
illuminated  manuscript,  Epistle  of  Phll- 
llppe  de  Mezleres,  of  the  end  of  the  four- 
teenth century,  "The  Epistle  touching 
peace  between  Charles  VI  of  France  and 

132 


The  Choir  and  Sanctuary 

Richard  II  of  England,"  now  preserved 
and  exhibited  at  the  British  Museum,  in 
which  the  costume  and  general  appearance 
of  the  King  are  very  much  like  this. 

The  picture  is  said  to  have  been  painted* 
in  or  before  1396,  to  decorate  the  Abbey 
stalls:  but  if  this  date  be  correct,  it  must 
have  been  a  reminiscent  portrait,  for  at 
that  time  Richard  had  been  on  the  throne 
for  nearly  twenty  years  and  was  no  longer 
a  child.  Another  portrait  of  this  weak 
and  handsome  Prince  is  on  the  famous 
Wilson  diptych,  privately  owned  in  Eng- 
land, said  to  have  been  painted  on  the 
occasion  of  the  King's  second  marriage,  to 
Isabella  of  France. 

The  worn  Tapestry  against  which  the 
picture  is  now  displayed  is  a  large  and 
beautiful  piece  representing  a  garden 
scene,  and  had  a  wide  border  at  the  top 
and  a  narrow  one  at  the  bottom.  It  was 
one  of  the  tapestries  used  for  decoration 
when  James  II  was  crowned:  but  later  was 
in  use  as  scenery  for  the  Terence  Plays 
of  the  Westminster  School  and  is  orna- 
mented with  many  initials  and  names  of 
school  boys. 

The  four  eastern  bays  of  the  nave  which 
form  what  Is  properly  called  the  ritual 
Choir,   containing   the  stalls   for  the  offi- 

*Lethaby. 


Westminster  Ahhey 

dating  clergy  and  the  choristers,  are  of  the 
same  beautiful  Early  English  architecture 
and  design  as  the  Sanctuary,  and  were 
probably  the  last  work  to  be  completed 
before  the  death  of  Henry  III.  Indeed, 
the  work,  was  evidently  interrupted  when 
the  lower  story  only,  of  the  fifth  bay  west 
of  the  crossing  was  being  constructed. 

All  the  architectural  features  which  have 
been  studied  in  the  Sanctuary  are  repeated 
here,  the  lofty  main  arcade  with  its  dia- 
pered spandrils :  the  triforium  with  its 
pair  of  containing  arches  in  each  bay, 
graceful  cusped  tracery  and  diapered 
spandrils  which  impart  an  airy  grace 
to  the  entire  structure,  and  the  lofty  two- 
light  plainly  traceried  windows  of  the 
clerestory.  But  in  the  eastmost  clerestory 
window  on  either  side  there  is  a  curious 
indication  of  a  change  in  the  workmanship, 
the  eastern  jamb  being  of  the  earlier  date, 
and  the  western  of  that  later  work  which 
was  long  thought  to  be  of  Edward  I's  time, 
but  is  now  known  to  have  been  the  latest 
of  the  time  of  Henry  III. 

The  modern  Gothic  Choir  Stalls  are 
richly  carved  in  a  variety  of  designs,  hav- 
ing gabled  canopies  with  traceried  heads 
and  rich  crockets  and  finials.  They  are 
forty-six  in  number,  with  return  stalls  at 
the  east  and  west  of  the  west  door,  richer 

134 


The  Choir  and  Sanctuary 

than  the  side  stalls.  The  Dean  occupies 
the  seat  on  the  south  side  of  the  west  door: 
the  sub-dean,  the  corresponding  seat  on  the 
north  side.  The  seat  at  the  east  end  and  on 
the  south  side  is  for  the  Lector  or  reader: 
that  on  the  north  side  for  the  Cantor.  A 
pew  is  reserved  for  the  Dean's  family:  but 
since  the  funeral  of  James  I,  when  the 
young  Charles  I  sat  in  it  alone,  as  the  chief 
mourner  for  his  father,  it  is  always  given 
up  to  visiting  members  of  the  royal  family, 
other  than  the  sovereign,  when  they  attend 
the  Abbey  service. 

In  monastic  days,  the  choir  was  strewn 
with  rushes  gathered  from  the  marsh, 
which  had  a  salt  odour,  instead  of  the  ordi- 
nary rushes,  whose  moisture  might  be 
injurious  to  the  health  of  the  prostrate 
worshippers."* 

The  modern  Pulpit  near  the  Sanctuary 
railing  is  of  Purbeck  marble  caived  with 
open  quatrefoils,  which  enframe  sculptured 
heads  of  the  Apostles  and  is  enriched  with 
roses  and  foliage. 

'"Ware's  "Consuetudines." 


135 


CHAPTER  VII 
THE  TRANSEPT 

(Early  English,   1245-1269) 

The  beautiful  Early  English  transept 
is  a  close'  rival  of  the  choir  in  the  variety, 
elegance  and  picturesque  effect  of  its  archi- 
tecture. Its  graceful  height,  and  ample 
width,  its  enrichment  of  spandril  carvings 
and  lovely  undercut  mouldings,  its  cusped 
tracery,  combined  with  the  exquisite  views 
of  choir  and  sanctuary  and  opposite  tran- 
sept which  meet  the  eye  on  every  side, 
hold  the  visitor  in  delighted  contempla- 
tion. In  many  great  churches  and  cathe- 
drals of  England,  as  at  Ely,  at  Winches- 
ter, at  Norwich  and  Exeter,  the  old  tran- 
sept, long  useless  and  never  really  impon 
tant,  is  the  least  beautiful  portion  and 
has  long  been  left  to  its  plainness  and 
decay.  Restorations  of  nave  and  choir 
and  chapels  are  often  heard  of:  but  the 
transept  is  rarely  the  subject  of  enrich- 
ment or  additions.  At  Westminster, 
however,  the  fine  lofty  transept,  with  its 
broad  aisles,  very  beautiful  when  com- 
pleted in  the  thirteenth  century,  is  very 
beautiful  today.  Time  has  robbed  it  of 
136 


The  Transept 

its  coloured  glass;  ruthlessly  broken  its 
sculptured  ornaments  and  introduced 
many  disfiguring  monuments;  but  other- 
wise the  walls  bear  that  appearance  of 
sumptuous,  stately,  self-respecting  old 
age  which  does  not  suggest  neglect  or 
decay. 

On  a  bright  summer  morning  when  the 
Abbey  may  be  seen  at  its  best,  sit  down 
in  the  transept,  it  scarcely  matters  at  what 
point,  and  leaving  the  monuments  to  be 
studied  later,  enjoy  on  all  sides  some  of 
the  finest  architectural  views  to  be  seen*  in 
the  kingdom. 

The  first  impression  is  that  of  noble 
height.  The  four  lofty  arches  of  the 
main  arcade  soar  up  so  high  from  the 
pavement  that  a  grand  effect  of  open 
space  is  produced  which  reveals  many  a 
lovely  vista,  the  arches  serving  to  enframe 
them  in  a  manner  not  possible  if  the 
arcades  were  as  low  as  is  usual  in  great 
English  churches.  To  the  left  as  you  en- 
ter the  church  by  the  north  porch  is  an 
entrancing  view  which  includes  the  inter- 
secting arches  of  transept,  aisle  and  choir 
aisle,  and  the  richly  sculptured  triforium 
of  the  Sanctuary,  beyond  which.  In  the 
obscure  distance,  the  vaulting  of  the  south 
ambulatory  chapels  may  be  seen.  Direct- 
ly in  front  rise  the  south  transept  walls  of 

137 


Westminster  Abbey 

the  Poets'  Corner,  similar  in  design  and 
of  equal  richness  with  the  north  transept, 
the  noble  south  wall  with  its  many  arcad- 
ings  crowned  by  a  rose  window  filled  with 
brilliantly  coloured  modern  glass.  To 
the  right  or  west  the  picture  includes  the 
eastern  arches  of  the  ritual  choir  with  its 
canopied  wooden  stalls. 

The  four  arches  of  the  main  arcade  of 
each  transept,  on  the  east  and  west  walls, 
are  supported  on  heavy  round  columns 
which  from  their  proportions  might  have 
belonged  to  a  late  Norman  church:  but 
around  these  cluster,  widely  apart,  four 
detached  gray  Purbeck  shafts  having  two 
sets  of  rings  or  bands  and  the  deeply 
moulded  capitals  and  bases  which  were  the 
true  Early  English  fashion  when  the  third 
Henry  was  building  here.  The  stones  of 
the  great  columns  are  delicately  worn  and 
gray,  rich  in  play  of  light  and  shade,  and 
their  beauty,  that  of  over  six  centuries' 
fashioning.  They  have  looked  on  with 
steady,  stony  gaze  while  kings  and  queens, 
princes,  lords  and  ladies,  poets  and  states- 
men have  passed  down  the  aisle  on 
errands  of  joy  or  of  sorrow,  for  coronation 
or  wedding  festivities,  for  burials  and  fun- 
eral pageants.  The  arch  mouldings  are 
finer  and  more  delicate  than  the  usual 
heavy  rolls  of  Early  English  mouldings. 

138 


The  Transept 

The  spandrils  of  main  arcade  and  trlfor- 
ium,  as  in  the  choir,  are  carved  with 
square  diaper  work.  The  triforium 
repeats  the  design  of  the  choir  (v.  p.) 
famed  for  its  richness,  having  two  large 
subdivided  containing  arches  in  each  bay 
with  cusped  tracery  and  enriched  moulding 
of  undercut  foliage.  The  clerestory  win- 
dows, also  like  those  of  the  choir,  have 
plain  high  two-light  windows  with  simple 
tracery  and  excellently  fulfil  their  purpose 
of  transmitting  as  much  light  as  may  be 
obtained  in  this  part  of  smoky  London. 

The  North  transept  has  both  east  and 
west  aisles,  the  former  now  screened  off 
from  the  main  aisle  by  large  monuments; 
and  from  it  projects  to  the  east  the  Islip 
chapel,  originally  of  Early  English  archi- 
tecture but  rebuilt  in  the  sixteenth  century 
by  Abbot  Islip  to  contain  his  tomb  and 
since  then  called  by  his  name.  The 
South  transept  has  an  eastern  aisle  from 
which  projects  to  the  east  the  chapel  of 
St.  Benedict,  corresponding  in  location  to 
the  Islip  chapel,  but  still  retaining  its  Early 
English  character.  The  main  story  of 
the  west  aisle  of  this  transept  forms  the 
east  walk  of  the  cloister  and  is  not  visible 
from  the  interior  of  the  church:  but  the 
triforium  and  clerestory  are  open  to  the 
139 


Westminster  Ahhey 

transept  and  two  bays  of  the  former  are 
fitted  up  as  a  Muniment  room. 

The  bay  at  the  crossing  of  the  long  and. 
short  arms  of  the  cross,  underneath  the 
place  of  the  central  tower,  often  called  the 
Tower  bay,  has  an  elaborate  vault  with 
ribs  so  many  and  so  rich  as  to  suggest  the 
fan  vault  of  a  later  day.  The  vault  is 
elaborately  painted,  reproducing  its  orig- 
inal decoration,  with  roses  and  gilding. 
The  tower  arches  are  supported  by  groups 
of  lofty,  slender  columns  said  to  be  wholly 
inadequate  to  the  support  of  a  large  cen- 
tral tower,  which  may  never  have  been 
intended.  But  little  is  understood  con- 
cerning the  King's  plan  with  regard  to 
towers:  the  Norman  church,  we  know, 
had  a  very  large  and  strong  tower  at  this 
point. 

The  stately  English  Coronation  rites 
find  one  of  their  centres  of  interest  in  this 
Tower  bay.  Here  is  erected  a  noble  plat- 
form elevated  by  three  broad  steps  above 
the  pavement,  and  called  The  Theatre  or 
dais,  the  central  section  of  which  is  two 
steps  higher  than  the  rest.  A  rich  blue 
velvet  carpet  is  spread  over  the  whole. 
On  the  highest  part  of  the  dais  Is  set  a  rich 
gilded  chair  of  state  covered  with  em- 
bossed velvet,  not  the  Coronation  Chair 
but  the  temporary  throne  to  which  the  king 

140 


The  Transept 

in  his  splendid  robes  is  conducted  after 
receiving  his  crown  in  the  Sanctuary  just 
beyond.  Here,  surrounded  by  his  clergy 
and  his  high  officers  of  state,  he  receives 
the  allegiance  of  his  archbishops  and 
bishops,  beginning  with  the  Archbishop  of 
Canterbury,  who  kneels  and  kisses  his 
cheek  and  touches  his  crown:  then,  in  the 
same  manner,  the  homage  of  the  Peers, 
the  first  of  whom  is  the  Prince  of  Wales, 
each  taking  the  oath  of  allegiance  and 
fealty.  Here  also,  on  the  lower  section 
of  the  dais  to  the  north  of  the  king's 
chair,  the  queen's  throne  is  placed  and 
here,  after  taking  her  crowning,  which 
follows  that  of  the  king,  she  is  conducted 
by  her  bishops  and  ladies,  making  her 
obeisance  as  she  passes  to  her  sovereign, 
the  king.  From  this  theatre,  the  newly- 
crowned  king  is  usually  presented  for  rec- 
ognition by  the  Archbishop  of  Canterbury, 
to  the  great  audience  of  his  subjects,  to 
those  at  the  East,  the  West,  the  North 
and  the  South  In  turn,  and  according  to 
an  ancient  custom,  is  greeted  with  loud 
cries  of  "Yea,  Yea,"  to  indicate  their  will- 
ingness to  receive  him  as  their  sovereign. 
On  this  magnificent  occasion,  the  entire 
transept  is  seated  with  chairs  rising  in  tiers 
to  the  triforium  level,  those  in  the  south 
transept    being    occupied    by    the    peers: 

141 


Westminster  Ahhey 

those  in  the  north,  at  the  queen's  side,  by 
the  peeresses  and  above  them  are  seated 
the  members  of  ParHament  and  their 
wives.  All  the  walls  of  both  transepts,  as 
of  the  entire  church,  are  richly  draped 
with  the  historic  colours,  deep  blue  and 
gold,  and  priceless  carpets  cover  the  worn 
pavements. 

One  of  the  most  impressive  incidents 
connected  with  the  recent  history  of  the 
Abbey  occurred  in  this  place  on  the  morn- 
ing of  June  24,  1902,  two  days  before  the 
date  fixed  for  the  coronation  of  Edward 
VII.  A  rehearsal  of  the  music  and  of 
some  of  the  more  intricate  portions  of 
the  elaborate  coronation  ceremonial 
(which  few  then  present  had  ever  wit- 
nessed) was  in  progress  under  this  Tower 
bay.  The  raised  dais  stood  in  its  place: 
the  chair  of  state  with  its  rich  colours  and 
gold  was  ready  for  the  king:  the  stone 
pavement  was  spread  with  its  rich  carpet: 
the  clergymen  most  nearly  associated  with 
the  coming  solemn  festivities  were  gath- 
ered and  the  organ  was  pealing  its  noble 
anticipatory  anthem :  when  suddenly,  into 
the  midst  of  the  solemn  group  a  messenger 
came  bearing  the  woeful,  startling  tidings, 
"The  King  is  dangerously  ill :  the  corona- 
tion ceremonies  must  be  postponed."  And 
for  six  weeks  thereafter,  all  through  the 
142 


The  Transept 

June  and  July  of  that  almost  matchless 
summer,  all  the  sumptuous  furnishings  and 
tapestries,  all  the  magnificent  robes  and 
jewels,  and  crowns  and  diadems  waited, 
waited  breathlessly,  while  lines  from 
the  sickroom  in  Buckingham  Palace  were 
posted  at  the  gates,  at  first  uncertain, 
then  hopeful  and  finally  reassuring.  And 
in  August,  the  great  west  doors  were 
thrown  open  to  the  long-delayed  proces- 
sion with  a  truly  royal  but  very  pale  King 
and  his  beautiful  Queen,  and  in  the  chairs 
of  State,  when  King  Edward  and  Queen 
Alexandra  had  been  royally  crowned,  and 
tenderly  welcomed  after  the  long  days  of 
anxiety  and  suspense,  they  heard  the  great 
shouts  of  rapturous  applause,  and  the 
Vivats  which  filled  the  great  Abbey  from 
nave  to  choir  and  to  the  height  of  the 
vaulted  ceilings. 


i43 


CHAPTER  VIII 

THE     NORTH     TRANSEPT,      OR 
STATESMEN'S  AISLE 

"Speak  no  more  of  his  renown, 
Lay  your  earthly  fancies  down, 
And  in  the  vast  cathedral  leave  him, 
God  accept  him,  Christ  receive  him." 

Tennyson. 

Since  the  burial  of  the  elder  Pitt  in  this 
transept,  it  has  been  known  as  The  States- 
men's Aisle,  as  the  corresponding  south 
arm  of  the  transept  is  called  The  Poets' 
Corner.  Many  other  statesmen  who 
have  added  to  England's  greatness  or 
aided  her  materially  in  councils  have 
found  burial  here:  and  others,  buried  else- 
where, are  here  commemorated  by  bust  or 
statue.  All  the  monuments  are  modern, 
and  many  are  life-sized  white  marble  stat- 
ues standing  on  high  pedestals,  forming  a 
striking  feature  of  the  aisle.  Here  rest 
Chatham,  Fox,  Pitt,  the  three  Cannings, 
Lord  Palmerston  and  Gladstone.  "In 
no  other  cemetery  do  so  many  great  citi- 
zens lie  within  so  narrow  a  space."* 
In  plan,  the  north  transept  as  already 
♦Macaulay's  Essay  on  Chatham. 
144 


The  North  Transept 

described  (p.  139)  consists  of  four  lofty 
bays  in  three  stages,  having  broad  east 
and  west  aisles  each  partly  shut  off  from 
the  main  aisle  by  the  great  monuments 
ranged  along  the  main  arcade.  The  west 
aisle  is  readily  accessible  but  the  east  aisle 
can  be  entered  only  from  the  north  choir 
aisle  (v.  p.  640),  It  was  originally  di- 
vided into  three  chapels  by  the  use  of 
screens,  but  only  the  names  of  the  chapels 
remain  today.  Main  and  side  aisles  are 
closely  crowded  with  monuments  of 
little  artistic  merit,  but  commemorating 
many  noble  names. 

The  north  wall  has  its  lofty  height  agree- 
ably diversified  by  division  into  five  rich 
stages,  a  large  rose  window  crowning  the 
structure  and  answering  to  the  rose  win- 
dow of  the  opposite  transept.  The  low- 
est stage  consists  of  an  arcade  of  four 
unequal  arches,  the  two  central  ones  wid- 
est, and  under  these  two  are  the  doors  of 
entrance  from  the  street  by  way  of  the 
North  or  Solomon's  Porch.  These  cen- 
tral arches  are  supported  by  round  col- 
umns having  moulded  capitals,  and  stone 
roses  are  set  in  the  hollow  of  the  arch 
moulding.  The  spandrils  of  these  arches 
retain  fragments  of  the  beautiful  vines  and 
figures,  delicately  executed,  with  which 
they  were  once  enriched.     In  the  central 

145 


Westminster  Abbey 

spandril  a  man  on  horseback  suggests  the 
figures  of  mounted  knights  on  the  tombs  in 
the  Sanctuary.  Directly  beneath  is  the 
head  of  a  smihng  king,  perhaps  Henry 
III,  whose  gratification  in  the  beautiful 


A    SPANDRIL 

architecture  of  the  transept  must  have 
been  great.  In  the  easternmost  spandril 
is  a  fragment  of  a  once  beautiful  group  of 
three  figures,  one  an  angel  with  very  long 
wings,  suggesting  an  archangel :  and  two 
other  figures,  one  sitting  with  hands  on 
hips,  and  looking  to  the  east:  the  middle 
figure  youthful  and  beautiful,  having 
rounded  arms,  and  turning  back  to  look 
towards  the  east,  though  both  of  these  fig- 
ures seem  to  be  travelling  westward.  The 
angel  is  earnestly  looking  towards  the  east. 
The  second  stage  of  the  north  wall 
consists  of  a  delicate,  graceful  arcade  of 
six  equal  arches,  richly  moulded  and  tre- 
foiled,  not  surpassed  for  purity  and  sim- 

146 


The  North  Transept 

pllclty  in  the  Abbey.  The  spandrils  are 
diapered.  At  the  back  of  this  stage  there 
is  a  passage  in  the  thickness  of  the  wall. 
The  third  stage  consists  of  six  loftier, 
narrow,  pointed  windows  fitted  with  mod- 
ern glass.  The  shafts  rest  on  a  deeply- 
splayed  sill,  revealing  the  thickness  of  the 
wall.  Under  canopied  niches  at  the  east 
and  west  ends  of  this  stage  two  figures  on 
pedestals  suggest  two  kings,  perhaps 
Henry  III  and  Edward  the  Confessor. 
The  fourth  stage  is  of  elaborate  design 
and  similar  to  the  triforium  of  the  east  and 
west  walls,  the  moulded  cinquefoils  of  the 
subordinate  arches  having  lovely  trefoiled 
cusps.  A  passage  runs  at  the  back  of  this 
stage.  Very  beautiful,  deeply  undercut 
foliage  and  twining  vine  stems  appear  in 
all  the  spandrils  and  should  be  examined 
with  a  glass  in  order  to  appreciate  their 
delicacy.  At  the  east  and  west  admirably 
wrought  figures  of  angels  or  acolytes  are 
swinging  censers  attached  to  very  long 
chains.  The  corbel  head  is  a  smiling  old 
man,  bearded  and  wearing  the  close  cap 
which  often  indicates  an  architect.  The 
fifth  stage  contains  a  rose  window  of  good 
design  which  long  ago  lost  its  original 
glass. 

The  vaulting  of  the  transept,  as  in  the 
earlier  bays  of  the  nave,  is  of  firebrick  and 

147 


Westminster  Abhcy 

chalk,  a  two-colour  effect  being  produced. 
The  moulded  ribs  are  decorated  with  a 
gilt  line  and  outlined  by  a  narrow  painted 
border  having  leaf  ornaments  at  the  an- 
gles. A  large  ridge  rib  runs  from  north 
to  south,  and  the  foliage  bosses  are  of 
large  size. 

At  the  head  of  the  row  of  statues  on 
the  east  side  of  the  main  aisle  at  the  south, 
stands  a  complimentary  statue  to  Sir  Rob- 
ert Peel  (d.  1850),  Home  Secretary 
under  Canning,  and  also  during  the  Duke 
of  Wellington's  ministry:  twice  Prime 
Minister  and  especially  remembered  for 
his  success  in  bringing  about  the  Repeal  of 
the  Corn  Laws.  The  statue  was  executed 
in  Rome  by  Gibson,  who  refused  to  under- 
take it  unless  he  might  adopt  the  classical 
costume:  the  Prime  Minister  therefore 
stands,  as  if  addressing  the  House,  clad 
In  a  Roman  toga.  He  is  buried  at  Dray- 
ton Bassett  with  his  father  and  mother, 
according  to  his  wish. 

The  Right  Honourable  William  Ewart 
Gladstone,  (d.  1898)  here  buried,  has  a 
noble  statue  to  the  north  of  Peel's.  The 
famous  Liberal  leader  was  four  times 
Prime  Minister  and  a  public  funeral  and 
this  statue  were  offered  by  Parliament. 
By  an  express  condition  of  his  will,  his 
body  was  not  to  be  Interred  where  that  of 
148 


The  'North  Transept 

his  loved  wife  might  not  ultimately  be 
placed  and  this  condition  was  accepted  by 
the  Dean  and  chapter.  The  body  lay  In 
state  in  Westminster  Hall  for  two  days 
and  was  viewed  by  250,000  people.  The 
casket,  richly  draped  In  a  gold-bordered 
pall  of  white  silk  having  "Reqiiiescat  in 
Pace"  wrought  In  gold  letters,  was  borne 
by  the  Prince  of  Wales  (later  Edward 
VII):  the  Duke  of  York  (George  V) ; 
the  late  Lord  Salisbury  and  other  men 
of  distinction,  from  Westminster  Hall: 
and  at  the  west  doorway  of  the  Abbey 
stood  a  company  of  Eton  boys  with  arms 
reversed,  forming  a  Guard  of  Honour  to 
their  distinguished  alumnus.  Seated  in 
the  Dean's  pew  in  the  choir  as  the  proces- 
sion moved  slowly  down  the  aisle,  were 
the  Princess  (later  Queen)  Alexandra, 
the  Princess  Victoria  and  the  Princess 
(later  Queen)  Mary.  The  casket  was 
placed  before  the  steps  to  the  Sanctuary 
and  around  It  stood  six  lofty  silver  candel- 
abra with  lighted  candles.  The  main  aisles 
of  the  building,  the  trlforlum  and  the  tran- 
septs were  occupied  to  their  utmost  capac- 
ity, the  House  of  Commons  sitting  in  the 
south  transept,  the  Lords  In  the  north. 
At  the  close  of  the  Committal  Service,  the 
Prince  of  Wales  and  Lord  Salisbury  gave 
tender  greeting,  at  the  graveside,  to  the 

149 


Westminster  Abhey 

bereaved  widow,  for  sixty  years  her  hus- 
band's close  companion,  and  the  King  of 
Arms  made  formal  proclamation  of  the 
state  of  the  deceased  who  had  persistently 
refused  to  accept  a  title.  The  statue,  by 
Brock  (who  wrought  the  bust  of  Longfel- 
low in  the  opposite  transept),  shows  the 
Minister  in  Parliamentary  robes,  one  hand 
grasping  a  manuscript.  The  face  is  an 
excellent  portrait:  the  eyes  are  open  and 
looking  directly  ahead. 

Two  years  later,  in  1900,  died  Mrs. 
Catherine  Gladstone,  soon  following  her 
distinguished  husband  and  was  buried  in 
his  grave  as  he  had  directed,  in  the  midst 
of  this  aisle,  over  whose  slab  the  feet  of 
thousands  yearly  pass. 

Vice-Admiral  Sir  Peter  Warren 
(d.  1752),  a  bold  Irish  sailor  and  a  dash- 
ing personage  in  his  day,  married  to  an 
American  wife,  Susannah  de  Lancey,  has 
a  white  marble  monument  by  Roublliac 
which  was  greatly  admired  in  its  time  and 
Brayley  speaks  of  the  sculptor's  vast  tal- 
ents as  well  displayed  in  its  execution.  It 
represents  a  stout  figure  of  Hercules  in 
the  act  of  placing  an  inconspicuous  bust  of 
Sir  Peter  (realistically  marked  by  plague) 
on  a  high  pedestal,  while  a  beautiful 
female  figure,  typifying  Navigation,  bear- 
ing a  withered  olive  branch,  gazes  mourn- 

150 


The  North  Transept 

fully  on  the  figure.*  Emblems  of  various 
sorts,  an  anchor,  a  flag,  a  compass,  ropes, 
the  insignia  of  the  Order  of  the  Bath:  and 
a  cornucopia  pouring  forth  fruits,  corn, 
coin,  and  "the  fleece"  adorn  the  monument. 
The  inscription  enumerates  the  admiral's 
virtues  and  concludes:  "But  the  Almighty 
whom  alone  he  feared  .  .  .  was  pleased 
to  remove  him  from  a  Life  of  Honour  to 
an  Eternity  of  Happiness.  Susannah,  his 
afflicted  wife,  caused  this  monument  to  be 
erected." 

The  Right  Honourable  Benjamin  Dis- 
raeli, Earl  of  Beaconsfield  (d.  1881), 
buried  by  the  side  of  his  wife  at  Hughen- 
den,  has  a  stately  statue  of  white  marble, 
on  a  rich  pedestal  of  pale  grey  marble,  rep- 
resenting the  famous  Conservative  leader, 
twice  Prime  Minister  of  Queen  Victoria, 
in  rich  robes  and  mantle  with  Collar  and 
George  of  the  Garter,  and  was  presented 
by  Parliament.  It  is  separated  by  a  brief 
space  from  the  statue  of  Gladstone,  his 
great  political  opponent.  A  second  statue 
of  Beaconsfield,  of  bronze,  in  the  small 

*Sir  Peter  came  to  America  in  the  course  of  his 
voyaging,  and  here,  in  1744,  married  Miss  de  Lancey, 
bought  a/  farm  of  300  acres  in  Greenwich  Village 
in  New  York,  and  built  a  fine  residence  about  three 
hundred  yards  back  from  the  Hudson,  where  he 
lived  in  dignity  and  elegance  for  several  years.  The 
last  of  his  life  was  passed  in  London  and  he  repre- 
sented Westminster  in  Parliament.  The  monument 
was  erected  by  his  wife. 

151 


Westminster  Ahhey 

park  northeast  of  the  Abbey  entrance,  is 
annually,  on  his  birthday  in  April,  gayly 
decorated,  indeed,  almost  concealed  by 
yellow  primroses,  the  Conservative  em- 
blem. At  Disraeli's  funeral.  Queen  Vic- 
toria in  person  placed  a  floral  wreath  on 
the  grave  of  the  Minister  whom  she  had 
so  highly  esteemed. 

A  large  monument  filling  the  width  of 
the  next  bay  is  to  William  Cavendish,  the 
first  Duke  of  Newcastle  (d.  1676)  and 
his  second  Duchess.  The  Duke  was  a  loyal 
friend  of  Charles  I,  and  was  exiled  and 
lost  his  fortune  of  nearly  a  million  pounds 
in  consequence  of  his  loyalty.  He  caused 
this  monument  to  be  erected  on  his  return 
from  exile  and  died  three  years  after  his 
Duchess,  whose  inscription  he  wrote: 
"She  came  of  a  noble  family,  for  all  the 
Brothers  were  Valiant  and  all  the  Sisters 
Virtuous.  This  Duchess  was  a  wise, 
wittie  and  learned  lady  which  her  many 
books  do  well  testify.  She  was  a  most 
Virtuous  and  Loveing  and  careful  wife 
and  was  with  her  Lord  all  the  time  of  his 
banishment  and  miseries,  and  when  he 
came  home,  never  parted  from  him  in  his 
solitary  retirements."  The  Duke's  in- 
scription Is  in  Latin.  The  witty  Walpole 
said  of  these  two:  "Of  all  the  riders  on 
Pegasus,  there  has  not  been  a  more  fantas- 

152 


The  North  Transept 

tic  couple  than  His  Grace  and  his  faithful 
Duchess  who  was  never  off  her  pillion." 
Both  effigies  wear  full  curling  wigs  and 
coronets:  the  duke  is  in  armour,  with  an 
ermined  mantle,  and  his  neckcloth  is  tied 
in  a  huge  bow:  he  wears  the  Collar  of  the 
Order  of  the  Garter,  and  holds  the 
George  in  his  hand.  Nine  large  books 
decorate  the  canopy,  in  allusion  to  the 
literary  achievements  of  the  couple. 

A  group  of  three  marble  statues  to  the 
Cannings  are  placed  by  the  northmost  pil- 
lar on  this  east  side  of  the  aisle.  That 
nearest  the  door  is  of  George  Canning 
(d.  1827),  a  famous  statesman,  a  pro- 
found scholar  and  an  accomplished  orator. 
He  had  been  Foreign  Secretary  and  only 
four  months  before  his  death  was 
appointed  Prime  Minister.  The  statue  is 
by  Chantrey. 

The  middle  statue  of  the  group  is  to 
Charles  John,  Earl  Canning  (d.  1862), 
son  of  George  Canning,  Governor-General 
and  later  the  first  Viceroy  of  India,  an 
office  which  he  held  during  the  terrible 
Mutiny.  Several  of  his  fellow  officers  in 
India  at  that  time  attended  his  funeral. 

A  statue  of  a  cousin  of  the  two  Can- 
nings stands  with  this  group.  Viscount 
Stratford  de  Redcliffe  (d.  1880,  at  the  age 
of  93),  for  fifty  years  the  English  ambas- 

153 


Westminster  Abbey 

sador  in  Turkey  and  other  Eastern  coun- 
tries. The  statue  represents  an  old  man 
with  placid,  thoughtful  face,  papers  in 
hand,  wearing  the  Robes  and  Collar  of  the 
Order  of  the  Garter.  The  epitaph  is  by 
Tennyson : 

"Thou  third  great  Canning  stand  among  our  best     ; 
And  noblest,  now  thy  long  daj^'s  work  hath  ceased, 
Here  silent  in  our  Minster  of  the  West, 
Who  wert  the  voice  of  England  in  the  East." 

John  Hollis,  Earl  of  Clare  (d.  171 1), 
also,  by  marriage,  the  second  Duke  of 
Newcastle,  has  one  of  the  largest  tombs 
in  the  Abbey  in  the  northern  bay  of  this 
aisle.  We  are  told  that  the  sculptor 
Gibbs  "staked  his  immortality  on  the  suc- 
cess of  this  design."  The  great  structure 
occupies  the  entire  width  of  the  bay  and 
towers  up  to  the  capitals  of  the  main 
arcade.  The  half  reclining  effigy  is  in 
armour,  delicately  holds  a  coronet  in  one 
hand  and  is  looking  upward  hopefully  to 
the  cherubs  perched  aloft,  one  holding  an 
hourglass  from  which  the  sands  have 
nearly  run  out.  A  large  female  figure 
representing  Wisdom  leans  against  a 
broken  column  and  a  figure  of  Sincerity  is 
gazing  at  herself  in  a  handglass. 

John  Bunyan  (d.  1688)  was  honour- 
ably commemorated  in  19 12  by  a  memo- 
rial window  in  this  transept,  the  first  me- 
morial of  any  importance  in  London  to  this 

154 


The  North  Transept 

famous  dreamer.  Scenes  from  the  "Pil- 
grim's Progress"  are  illustrated  in  the  win- 
dow, the  cost  of  which  ($6000)  was  con- 
tributed by  his  admirers  in  England, 
America  and  the  Colonies.  Bunyan  is 
buried  in  the  Bunhill  Fields  Cemetery  in 
the  City  Road,  with  Isaac  Watts,  Defoe 
and  the  mother  of  the  Wesleys.  The 
dedication  of  the  window  was  attended  by 
a  distinguished  company,  including  the 
Archbishop  of  Canterbury,  Bishops  Brent 
and  Boyd  Carpenter,  the  Mayor  and  Cor- 
poration of  Bedford,  Bunyan's  native 
town,  and  Rev.  Dr.  MacArthur  of  New 
York.  The  undertaking  was  due  to  Ameri- 
can Baptists.  "Not  since  Livingstone  was 
buried  in  1874  has  there  been  so  catholic 
a  service  as  Bunyan's  in  the  Abbey." 

A  slab  in  the  middle  of  this  aisle  marks 
the  grave  of  Charles  James  Fox 
(d.  1806),  a  distinguished  Parliamentary 
orator  whose  monument  is  at  the  west  end 
of  the  nave   (v.  p.  667). 

Henry  Grattan  (d.  1820),  highly  hon- 
oured by  the  Irish  as  a  defender  of  their 
cause  in  Parliament,  has  a  plain  stone  over 
his  grave  to  the  west  of  Fox,  "whom  in 
life  he  so  dearly  valued  and  near  whom  in 
death  it  would  have  been  his  pride  to  lie," 
and  his  coffin  nearly  touches  that  of  Fox. 
Grattan's  devotion  to  the  cause  of  Ireland 

155 


Westminster  Abbey 

induced  him  to  make  a  painful  journey  to 
London,  contrary  to  his  physician's  advice, 
when  his  last  illness  was  upon  him,  in 
order  to  move  certain  resolutions  in  Par- 
liament to  preserve  the  connection  between 
England  and  Ireland  and  to  grant  the 
Catholics  their  great  privileges.  But  his 
strength  failed  and  he  died  soon  after. 
At  the  funeral  a  company  of  Irish  children 
from  the  Roman  Catholic  Charities, 
dressed  in  green,  were  ranged  at  the  west 
entrance  of  the  Abbey. 

On  the  South  side  of  this  middle  aisle 
of  the  transept,  in  the  northmost  bay, 
stands  a  lofty  marble  monument  by  Bacon 
to  William  Pitt,  the  great  Earl  of  Chat- 
ham (d.  1778),  which  rises  thirty-three 
feet  and  cost  £6000.  The  inscription 
notes  that  during  his  administration  as 
Prime  Minister  "Divine  Providence 
exalted  Great  Britain  to  an  height  of  pros- 
perity and  glory  unknown  in  any  former 
age."  As  is  well  known,  the  great  states- 
man opposed  the  granting  of  independence 
to  the  American  Colonies  and  after  an 
impassioned  speech  in  Parliament  in 
which  he  protested  against  "the  dismem- 
berment of  this  ancient  and  most  noble 
monarchy"  he  fell  back  in  an  apoplectic 
seizure  and  died  soon  after.  "With  many 
faults,  he  stands  forth  among  the  greatest 

156 


The   Earl  of   Chatham 

From   the   painting   by    Richard   Brompton   in   the   National    I'ortrait    Gallery, 
London. 


The  North  Transept 

figures  in  English  history."  Both  St. 
Paul's  and  Westminster  desired  the  hon- 
our of  giving  burial  to  Chatham  but  Par- 
liament decided  in  favour  of  Westminster, 
where  he  might  lie  "among  the  tombs  of 
the  kings,"  and  here  he  was  buried  with 
distinguished  honours. 

Thackeray's  picture  of  the  Earl  at  Bath 
will  be  remembered:*  "And  if  you  and 
I  had  been  alive  then  and  strolling  down 
Milson  street,  hush,  we  should  have  taken 
our  hats  off  as  an  awful,  long,  lean,  gaunt 
figure,  swathed  in  flannels,  passed  by  in  its 
chair,  and  a  livid  face  looked  out  from 
the  window,  great  fierce  eyes  staring  from 
under  a  bushy  powdered  wig,  a  terrible 
frown,  a  terrible  Roman  nose,  and  we 
whisper  to  one  another.  There  he  is! 
There  is  the  great  Commoner!  There 
Is  Mr.  Pitt." 

The  lofty  monument,  consistent  with  the 
taste  of  the  time  but  to  us  today  a 
wretched  composition,  was  erected  by  Par- 
liament, and  even  Macaulay  could  say  that 
It  was  graven  "by  a  cunning  hand."  A 
standing  figure  of  the  Earl  with  hand  up- 
raised as  in  Parliamentary  debate,  appears 
In  a  recess  hollowed  out  at  the  top  of  a 
towering  marble  pyramid  and  at  his  feet 
are  large  female  figures  representing  Pru- 

*The  Four  Georges. 


Westminster  Abhey 

dence  and  Fortitude.  A  colossal  figure  of 
Britannia,  eight  feet  high,  bearing  a  tri- 
dent, is  seated  on  a  rock  in  the  sea;  at  the 
base  and  on  either  side  and  at  her  feet  are 
figures  representing  Ocean,  leaning  against 
a  dolphin;  and  Earth,  resting  against  a 
globe,  while  a  variety  of  fruits,  including 
apples,  grapes,  melons,  pineapples  and 
wheat  are  displayed. 

"Chatham  sleeps  near  the  north  door  of 
the  church,"  wrote  Macaulay,  in  the  clos- 
ing paragraph  of  the  second  essay  on  Chat- 
ham, "...  and  high  over  the  venerable 
graves  towers  the  stately  monument  .  .  . 
and  from  above  his  effigy  seems  still,  with 
eagle  face  and  outstretched  arm  to  bid 
England  to  be  of  good  cheer  and  hurl 
defiance  at  her  foes.  .  .  .  And  history, 
while,  for  the  warning  of  vehement,  high 
and  daring  natures  she  notes  his  many 
errors,  will  yet  deliberately  pronounce 
that  among  the  eminent  men  whose  bones 
lie  near  his,  scarcely  one  has  left  a  more 
stainless  and  none  a  more  splendid  name." 

The  grave  of  the  younger  Pitt,  Will- 
iam, the  son  of  the  great  Earl  (d.  1806), 
is  in  the  pavement  near  the  father's  monu- 
ment, but  his  own  monument  is  in  the 
nave  (v.  p.  664).  Again  we  look  to 
Macaulay's  great  essay:  "A  splendid 
train  of  princes,  nobles,  bishops,  and  privy 

158 


The  'North  Transept 

councillors  followed  the  son  to  his  burial. 
The  grave  of  Pitt  had  been  made  near  to 
the  spot  where  his  great  father  lay,  where 
his  great  rival  was  soon  to  He.  The  sad- 
ness of  the  assistants  was  beyond  that  of 
ordinary  mourners.  For  he  whom  they 
were  committing  to  the  dust  had  died  of 
sorrows  and  anxieties  of  which  none  of  the 
survivors  could  be  altogether  without  a 
share."  Wilberforce,  who  carried  the  ban- 
ner before  the  hearse,  described  the  cere- 
mony with  deep  feeling.  As  the  coffin 
descended  Into  the  earth,  "the  eagle  face  of 
Chatham  from  above  seemed  to  look  down 
with  consternation  Into  the  dark  house 
which  was  receiving  all  that  remained  of 
so  much  power  and  glory." 

Lord  Palmerston  (d.  1865)  twice 
Prime  Minister,  has  a  statue  erected  by 
Parliament  just  beyond  that  of  Chatham. 
It  shows  the  usual  serious,  thoughtful  face 
of  the  Abbey  statues,  and  is  clad  in  Par- 
liamentary robes  with  the  Collar  and 
George  of  the  Garter.  The  Garter  Is  rep- 
resented In  Its  usual  place,  on  the  left  leg. 

A  colossal  monument  by  Nollekens  In 
memory  of  Three  Captains,  commemor- 
ates William  Bayne,  Lord  Robert  Man- 
ners and  William  Blair,  all  of  whom  fell 
in  a  naval  engagement  in  the  West  Indies 
in  1782.     Contrast    this    lurid    call    for 

159 


Westminster  Abbey 

admiration  and  remembrance  with  the 
modest  stones  and  simple  inscriptions  to 
Browning,  Tennyson,  Dickens  and  other 
men  of  genius  buried  within  the  church. 
This  stately  monument  was  erected  by 
Parliament  and  has  for  its  most  promi- 
nent feature  a  huge  figure  of  Neptune 
with  a  trident,  sitting  on  a  scaly  sea-horse 
and  pointing  to  medallion  portraits  of  the 
three  captains  which  are  suspended  on  a 
rostral  column  and  watched  over  by  a 
chubby  cherub.  A  tremendous  lion,  whose 
proportions  are  suited  only  to  a  park, 
rests  his  paws,  In  photographic  attitude, 
on  a  shield  bearing  the  Union  Jack.  An 
angel  on  the  rostral  column  holds  the 
trumpet  of  fame  and  raises  a  wreath  over 
the  medallions.  Seaweed  grows  at  the 
base  of  the  monument. 

The  handsome  face  and  delicate  feat- 
ures of  Lord  Londonderry,  Foreign  Sec- 
retary in  1 8 12,  appear  In  a  statue  beyond 
the  three  captains. 

William  Murray,  Earl  of  Mansfield 
(d.  1793),  a  Westminster  scholar,  has  a 
statue  by  Flaxman,  seated  In  a  chair  which 
Is  placed  on  a  lofty  marble  pedestal  and  is 
dressed  in  his  robes  and  wig  as  Lord 
Chief  Justice,  and  as  he  was  painted  by 
Reynolds.  On  one  side  a  tall  female  fig- 
ure of  Justice  holds  scales  aloft:  on  the 
other,  Minerva  bears  a  large  open  book. 

160 


The  'North  Transept 

At  the  back  is  represented  an  agonized 
youth,  "perhaps  a  condemned  person." 
This  and  the  statue  of  Sir  William  Fol- 
lett,  the  famous  advocate,  are  the  only 
members  of  the  modern  legal  profession 
commemorated  in  the  Abbey. 

The  east  aisle  of  this  transept  is  now 
entered  from  the  north  ambulatory,  the 
usual  entrance  from  the  main  aisle  being 
blocked  up  by  monuments  (v.  p.  640). 

The  west  aisle  has  in  general,  the  archi- 
tectural features  of  the  main  aisle,  but  is 
built  in  a  single  stage  and  nearly  all  its 
wall  space  is  concealed  by  monuments. 
Few  names  of  general  interest  or  impor- 
tance and  no  beautiful  memorials  are  to  be 
found  here. 

The  north  wall  has  been  irretrievably 
injured  by  an  attempt  to  construct  a  scene 
in  India  as  a  background  for  the  monu- 
ment of  Vice-Admiral  Watson  (d.  1757), 
who  in  1756  freed  the  English  prisoners 
shut  up  in  the  Black  Hole  of  Calcutta.* 
Four  towering  sculptured  palm  trees  con- 
ceal the  four  delicate  pillars  of  Henry 
Ill's  beautiful  architecture,  and  a  huge 
shock  of  leaves  effaces  both  spandrils  and 
capitals. 

The  seldom-opened  north  door  in  this 

*This  was  a  small  room  measuring  eighteen  feet 
by  fourteen,  from  which  only  twenty-three  of  the 
one  hundred  and  forty-six  who  had  been  imprisoned 
here  were  found  to  be  living. 

161 


Westminster  Ahhey 

aisle  has  on  either  side  a  very  narrow  lan- 
cet arch  ornamented  with  roses,  which  also 
appear  in  the  arch  over  the  door  itself. 
The  clerestory  stage  of  the  north  wall  con- 
sists of  an  arcade  of  three  lofty  arches 
without  tracery,  the  central  much  the 
highest,  and  contains  a  single-light  window 
with  modern  glass.  The  richest  feature 
of  this  stage  is  the  diaper  work  at  the  east 
and  west  of  the  side  arches  and  in  the 
space  above  the  clerestory  arches. 

As  has  been  said,  the  entire  wail  space 
Is  occupied  by  monuments,  none  of  which 
are  notable  as  worlds  of  art,  and  only  two, 
those  to  Warren  Hastings  and  Richard 
Cobden,  both  buried  elsewhere,  recall 
names  of  wide  fame.  The  leisurely  stu- 
dent, however,  will  discover  numerous 
points  of  some  interest. 

Warren  Hastings  (d.  1818),  Gover- 
nor-General of  Bengal,  one  of  the  great 
modern  names  of  England,  has  an  Incon- 
spicuous tablet  and  bust  placed  here  by  his 
wife,  above  the  lower  monuments  on  the 
east  wall,  In  striking  contrast  to  the  showy 
memorials  of  the  less  known  dead  repre- 
sented In  the  Abbey.  The  face  and  head 
are  those  of  a  good  old  man  and  the 
inscription  states  that  "he  lived  for  many 
years  In  dignified  retirement,  beloved  and 
revered  by  all  who  knew  him    ...   he 

162 


The  North  Transept 

died  in  peace  in  the  eighty-sixth  year  of 
his  age."  It  was  while  standing  under 
the  bust  of  Hastings  that  Dean  Milman 
suggested  to  Macaulay  the  idea  of  his 
splendid  essay  on  the  great  proconsul. 

"With  all  his  faults,  and  they  were  nei- 
ther few  nor  small  .  .  .  only  one  ceme- 
tery was  worthy  to  contain  his  remains.  In 
that  temple  of  silence  and  reconciliation, 
where  the  enmities  of  twenty  generations 
lie  buried  in  the  Great  Abbey  which  has, 
during  many  ages,  afforded  a  quiet  rest- 
ing-place to  those  whose  minds  and  bodies 
have  been  shattered  by  the  contentions  of 
the  Great  Hall,  the  dust  of  the  illustrious 
accused  should  have  mingled  with  that  of 
the  illustrious  accusers.  That  was  not  to 
be.  He  had  preserved  and  extended  an 
Empire:  he  had  founded  a  polity:  he 
had  administered  government  and  war 
with  more  than  the  capacity  of  a  Richelieu. 
He  had  been  attacked  by  the  most  formid- 
able of  enemies  that  ever  sought  the 
destruction  of  a  single  victim:  and  over 
that  combination  after  a  struggle  of  ten 
years,  he  had  triumphed.  He  had  at 
length  gone  down  to  his  grave  in  the  ful- 
ness of  age,  in  peace  after  so  many  trou- 
bles: in  honour  after  so  much  obloquy 
.  .  .  tried  by  both  extremes  of  fortunes 
and  never  disturbed  by  either." 

163 


CHAPTER  IX 

THE      SOUTH     TRANSEPT,     OR 
POETS'  CORNER 

(Early  English,  1245-1269) 

*' Tread  softly  here,  the  sacredest  of  tombs 
Are  those  that  hold  your  poets:  kings  and 

queens 
Are  facile  accidents  of  Time  and  Chance; 
But  he  who,  for  the  darkling  mass  of  men 
Is  on  the  wing  of  heavenly  thought  up- 
borne 
To  finer  ether,  and  becomes  a  voice 
For  all  voiceless,  God  anointed  him : 
His   name  shall  be  a  star,   his  grave,  a 
snrine.  .Thomas  Bailey  Aldrich. 

No  part  of  the  Abbey  is  so  interest- 
ing to  the  larger  number  of  visitors  as 
this  transept  which  is  called  the  Poets' 
Corner,  The  crowds  gaze  idly  at  the 
commanding  statues  of  statesmen  in  the 
opposite  transept  and  soon  pass  on:  they 
look  again  with  curious  and  admiring  eyes 
on  the  magnificent  tombs  of  the  kings  and 
queens  in  the  eastern  chapels:  but  here  in 
the    transept    corner   which    contains    no 

164 


The  South  Transept 

splendid  marble  monuments,  where  the 
sculptured  memorials  are  less  ornate  than 
in  any  other  aisle,  and  where  only  a  bust  or 
a  plain  slab  in  the  pavement  brings  to 
mind  names  dear  from  association,  names 
beloved  in  the  home,  names  whose  words 
rise  to  heart  and  lip  in  hours  of  sorrow  or 
of  gladness,  here  they  love  to  linger. 
Not  a  flower  is  placed  on  the  tomb  of 
Henry  VII,  of  Edward  III  or  of  the 
mighty  Elizabeth  by  the  traveller  of  to- 
day: but  on  the  simple  stones  which  cover 
the  graves  of  Tennyson,  of  Browning,  of 
Dickens,  and  on  the  bust  of  Longfellow, 
such  tributes  of  affection  are  often  seen. 
The  name  Poets'  Corner  was  first 
applied  to  the  southeast  corner  of  the 
east  aisle  after  England  had  laid  her  great 
poet  Spenser  there  to  rest,  near  her 
greater,  but  at  that  time  less-appreciated, 
Chaucer.  Since  then  a  noble  group  rep- 
resenting the  literary  genius  of  England 
for  centuries  has  filled  the  aisle  and  over- 
flowed into  the  main  part  of  the  transept 
to  which  the  name  is  now  applied.  Here 
rest  Tennyson,  Browning,  Dickens,  Ma- 
caulay,  Handel  and  Sheridan:  Beaumont 
and  Johnson,  Dryden,  Prior,  Gay  and 
Campbell.  Addison  and  Ben  Jonson, 
buried  elsewhere  in  the  Abbey,  are  here 
commemorated:  and  here  the  nation  has 

I6S 


Westminster  Abbey 

delighted  to  honour  many  who  sleep  less 
magnificently  in  quiet  country  churchyards 
or  in  distant  lands,  but  whose  names  be- 
long to  the  world.  Such  are  Shakespeare 
and  Milton:  Scott,  Burns  and  Goldsmith, 
Coleridge,  Thackeray,  Southey,  Grey  and 
Ruskin. 

The  South  Wall  of  this  south  transept 
is  almost  the  counterpart  of  the  opposite 
north  transept  wall.  It  is  built  in  four 
stages  and  has  a  large  rose  window  at 
the  top.  The  lowest  arcade  of  the  wall 
has  five  sharply  pointed  arches  instead 
of  the  four  low  arches  of  the  north  tran- 
sept. The  second  stage  consists  of  an 
arcade  of  six  arches,  having  stairs  at  the 
west.  The  third  stage  has  six  high  nar- 
row windows  of  deep  splay,  all  fitted  with 
modern  glass  showing  full-length  figures 
under  rich  canopies.  The  fourth  stage 
is  the  triforium  proper,  having  diapered 
spandrils  and  sculptured  figures  of  much 
beauty:  the  outermost  seem  to  be  censing 
angels:  of  the  two  central  figures  one  is 
seated  and  bears  a  staff  in  an  outstretched 
hand;  the  other  is  standing  and  is  head- 
less. 

The  Rose  window  on  this  wall  was 
fitted  with  new  glass  in  1902,  in  memory 
of  the  Duke  of  Westminster. 

There  is  an  east  aisle  to  this  transept 
166 


A  Censing  Angel  in  the  Transept 


The  South  Transept 

but  there  is  no  west  aisle  in  the  main 
story,  because  its  place  is  occupied  by  the 
east  walk  of  the  cloister:  but  the  tri- 
forium  and  clerestory  of  the  west  aisle 
appear,  the  floor  of  the  former  being  the 
roof  of  the  cloister  walk.  The  two 
northmost  bays  of  the  triforium  are  fitted 
up  for  use  as  a  muniment  room. 

The  West  Wall  of  this  transept  has 
been  called  the  Historical  or  Learned 
side,  and  contains  few  memorials  of  poets 
but  many  of  historians  and  essayists 
whose  tablets,  busts  and  monuments  en- 
tirely conceal   the  beautiful  wall   arcade. 

Two  literary  friends  and  historians, 
George  Grote  (d.  1871),  and  Connop 
Thirlwall,  Bishop  of  St.  David's  (d. 
1875),  have  fine  white  marble  busts  at 
the  north  end  of  this  west  wall,  placed 
by  the  reverent  care  of  Dean  Stanley. 
They  were  students  together  at  Charter- 
house and  each  wrote  a  history  of  Greece 
without  the  knowledge  of  the  other. 
Thirlwall  was  a  precocious  youth  who 
read  Latin  at  three,  Greek  at  four,  and 
whose  first  book  was  published  when  he 
was  eleven.  He  was  a  profound  histori- 
cal scholar  and  an  industrious  author.  In 
his  last  days  he  was  blind  and  partly  para- 
lyzed. Dean  Stanley  preached  his  fun- 
eral sermon.     Grote  toiled  on  diligently, 

167 


Westminster  Abhcy 

an  old  man  of  seventy-five,  and  was 
still  busy  when  the  hand  of  death  was 
upon  him.  Charles  Sumner  wrote  to  his 
widow:  "When  the  electric  cable  flashed 
across  the  Atlantic  the  news  of  this  great 
loss,  the  whole  of  this  vast  continent 
vibrated  with  sympathy  for  you."  The 
two  friends  were  buried  in  one  grave:  the 
faces  of  the  busts  are  good  portraits. 

A  stiff  little  demi-figure  on  a  tall  pedes- 
tal to  the  south  represents  Camden,  the 
famous  antiquary,  who  died  in  1623.  He 
was  a  self-made  man  and  had  been  a  Blue 
Coat  boy,  graduated  at  Oxford,  where  he 
was  a  friend  of  Sir  Philip  Sidney,  and 
became  Headmaster  of  the  Westminster 
School  when  Ben  Jonson  was  a  pupil 
there.  His  famous  "Britannia"  was 
begun  when  he  was  twenty-five  and  com- 
pleted ten  years  later.  After  a  time,  he 
gave  up  teaching  in  order  to  devote  him- 
self to  antiquarian  research  but  continued 
to  live  in  the  Dean's  Yard  and  diverted 
himself  by  meditating  among  the  Abbey 
tombs  of  which  he  wrote  the  earliest  con- 
nected account. 

After  his  death,  his  body  lay  in  state 
for  several  days  and  was  interred  with 
great  solemnity,  a  long  procession  of 
mourners  following  it  to  the  grave. 
Among  his  distinguished  friends  were 
Bishop  Godwin,  Archbishop  Ussher  and 
168 


The  South  Transept 

Sir  Henry  Spelman.  The  neat  little  fig- 
ure on  the  monument  is  represented  wear- 
ing a  mantle  over  a  closely  buttoned  coat, 
holding  his  gloves  primly  in  one  hand 
while  the  other  rests  on  his  famous 
"Britannia."  The  face  is  fine  and  strong. 
David  Garrick,  the  actor  (d.  1779), 
has  a  full-length  marble  figure  standing, 
in  an  affected  attitude,  above  the  bust  of 
Camden,  and  is  represented  drawing  aside 
a  fringed  drapery  to  reveal  a  small  medal- 
lion of  Shakespeare,  whose  beauties  the 
sculptor  supposes  to  have  been  revealed 
to  the  world  by  this  actor.  The  doggerel 
inscription  bears  out  the  idea: 

V  "A  Shakespeare  rose,  then,  to  expand  his  fame, 
Wide   o'er   the    breathing   world  a   Garrick   came." 

Figures  representing  Comedy  and  Trag- 
edy sit  on  either  side  at  the  actor's  feet. 
Lamb  called  the  monument  "a  farrago  of 
nonsense  and   false  thoughts." 

Garrick  died  at  No.  5  Adelphi  Terrace. 
At  his  stately  funeral  the  streets  were 
thronged  with  people,  the  line  of  car- 
riages extending  from  The  Strand  to  the 
Abbey.  Among  the  pallbearers  were  the 
Duke  of  Devonshire,  the  Lords  Camden, 
Ossory,  Spencer  and  Palmerston:  and 
Burke,  Johnson,  Fox  and  the  Literary 
Club  were  among  the  mourners.  Dr. 
Johnson,  the  friend  of  Garrick's  early 
169 


Westminster  Ahhey 

years  when  the  two  young  men  came  down 
from  Lichfield  to  London  to  seek  their 
fortunes,  stood  by  the  open  grave  with 
tears  coursing  down  his  cheeks,  Mrs. 
Garrick,  who  had  been  in  youth  a  famous 
dancer  from  Vienna,  "Mile.  Violette," 
lived  on  for  over  forty  years  at  her  pleas- 
ant home  in  The  Strand,  entertaining  John- 
son and  Boswell,  Sir  Joshua  Reynolds, 
Mrs.  Boscawen  and  other  friends,  ever 
talking  of  her  "dear  Davy,"  and  was  bur- 
ied in  this  same  grave.  Queen  Charlotte 
was  her  familiar  friend.  "It  was  no  dis- 
honour to  her,"  says  Leigh  Hunt,  "that 
her  constitution  was  too  good  for  her  mel- 
ancholy." 

A  large  and  conspicuous  sarcophagus 
with  a  statue,  pen  in  hand,  is  in  memory 
of  John  Earnest  Grabe  (d.  171 1),  a 
Prussian  scholar,  renowned  for  his  knowl- 
edge of  Oriental  lore,  who,  dissatisfied 
with  the  Lutheran  church  in  his  own  land, 
came  to  live  in  London  and  was  here 
ordained  by  Bishop  Lloyd.  Among  his 
literary  works  was  a  valuable  edition  of 
the  Septuagint. 

Another  learned  foreign  scholar,  Isaac 
Casaubon  (d.  16 14),  lies  near  by,  a  fam- 
ous Genevan,  but  naturalized  and  long 
resident  in  England,  and  a  prebendary  of 
Canterbury.     He    was    called   the  most 

170 


View  into  the  South  Transept  from  the  Sanctuary 

Showing  Anne  of  Cleve's  Tonili,  and  above  it  the  portrait  of  Richard  II. 


The  South  Transept 

learned  man  of  his  time  in  Europe.  This 
sentence  occurs  in  his  diary:  "O  God  of 
my  salvation  and  my  studies,  without 
which  life  to  me  is  not  life."  He  was 
received  with  much  respect  in  England, 
which  he  called  "the  Isle  of  the  blessed." 
Bishop  Andrews  of  Ely  and  Dean  Over- 
all of  St.  Paul's  were  especially  cordial  to 
him  and  James  I,  who  granted  him  a  pen- 
sion of  £300,  "kept  him  talking  for  hours, 
always  on  theology."  He  died  at  the 
age  of  fifty-five,  worn  out  with  study. 
His  tablet  of  black  and  white  marble  is 
adorned  with  floral  designs  and  with 
books:  but  by  far  its  most  interesting  feat- 
ure Is  the  rudely  scratched  monogram 
"I  W  1658,"  said  to  have  been  carved 
here  by  Isaac  Walton,  friend  of  Casau- 
bon's  son,  Meric  (and  possibly  named  for 
the  father),  when  he  visited  this  grave. 
"This,"  says  Stanley,  "is  the  earliest  of 
those  unhappy  inscriptions  of  the  names 
of  visitors  which  have  since  defaced  so 
many  a  sacred  space  in  the  Abbey" :  but 
whatever  may  be  thought  of  Walton's 
taste  or  Stanley's  criticism,  it  is  undoubted- 
ly true  that  the  Abbey  contains  few  greater 
treasures  than  these  initials,  wrought  with 
affection  and  reverence  for  the  dead  by 
the  hand  of  one  of  the  great  masters  of 
the  English  language. 

171 


Westminster  Abhey 

A  stone  in  the  pavement  near  by  is 
inscribed  "O  rare  Sir  William  Davenant." 
It  marks  a  grave  in  which  Thomas  May 
(d.  1792),  the  Scotch  architect,  known 
was  buried  during  the  Commonwealth. 
Clarendon  says  that  May  espoused  Crom- 
well's cause  in  disgust  after  unsuccessfully 
competing  with  "the  wild  cavalier,  Sir 
William  Davenant"  for  the  laureateship. 
May's  body  was  disinterred  at  the  Res- 
toration when  those  of  Cromwell  and  his 
generals  were  disinterred  in  the  Abbey  by 
the  King's  orders:  and  by  a  curious  fate, 
his  rival  (d.  1668),  was  buried  in  the 
grave  thus  vacated, 
-"'^^ear  the  grave  of  Wyatt,  the  architect, 
j  is  that  of  the  famous  Robert  Adam 
(d.  1792),  the  Scotch  architect,  known 
to  us  today  by  his  choice  classical 
designs  in  house  furniture,  which  are  eag- 
erly sought  by  collectors.  He  was  one 
of  four  brothers,  all  architects,  much 
esteemed  in  their  day:  the  four  gave  the 
name  Adelphi  (brothers)  to  a  handsome 
set  of  buildings  which  they  erected  on  The 
Strand,  and  three  of  its  streets,  John, 
Robert  and  Adam  still  preserve  their 
memory.  Two  of  the  brothers  were 
noted  for  the  furniture  they  designed 
especially  for  the  houses  which  they  built, 
and  which  was  characterized  by  elegance 

172 


The  South  Transept 

of  proportion  and  simplicity  of  design. 
Robert  was  the  most  famous  of  the  four 
and  was  the  friend  of  Hume  and  Adam 
Smith.  Among  the  pallbearers  at  his 
funeral  were  the  Earl  of  Lauderdale  and 
the  Duke  of  Buccleuch. 

Isaac  Barrow  (d.  1677),  chaplain  to 
Charles  II  and  conspicuous  as  a  scientist 
and  a  divine,  Master  of  Trinity  College, 
Cambridge,  has  a  bust  on  this  wall.  As 
a  mathematician,  he  was  second  only  to 
his  distinguished  pupil,  Newton. 

There  is  a  white  marble  bust  of  Lord 
Macaulay,  the  great  historian  and  essay- 
ist, who  died  In  1859,  on  the  south  pillar 
of  the  second  bay  of  this  aisle,  and  his 
grave  is  beneath  a  blue  marble  slab  In  the 
pavement,  with  the  inscription,  "His  body 
is  burled  in  peace  but  his  name  liveth  for- 
evermore."  The  bust  shows  the  large 
forehead,  overhanging  brows  and  facile 
mouth  of  the  usual  portraits.  The  great 
man  died  three  days  after  Christmas, 
while  quietly  sitting  In  his  library  chair 
with  a  magazine  open  before  him.  His 
death  came  soon  after  his  much-loved  sis- 
ter and  her  family  had  removed  to  India. 
"The  prospect  of  separation  from  one 
with  whom  he  had  lived  In  close  and 
uninterrupted  companionship  since  his 
childhood   ...    a  prospect  darkened  by 

173 


Westminster  Ahhey 

the  thought  that  his  last  hour  would  surely 
come  when  she  was  thousands  of  miles 
away*  weighed  heavily  on  Macaulay's 
sinking  health.  He  endured  it  manfully 
but  his  spirits  never  recovered  the 
blow." 

The  story  of  the  affectionate  brother 
forcing  himself  to  read,  write  or  occupy 
his  mind  in  any  way  in  order  to  divert  his 
thoughts  from  his  loss  is  deeply  pathetic. 
He  was  buried  in  the  Abbey,  on  a  bright 
January  morning  with  a  beautiful  sunrise. 
Among  his  pallbearers  were  the  Duke  of 
Argyll,  Lord  John  Russell,  Lord  Stan- 
hope, Bishop  Wilberforce  and  Dean  Mil- 
man,  who  met  in  the  Jerusalem  Chamber. 
The  whole  service  was  solemn  and  impres- 
sive, befitting  the  man  and  the  occasion. 
Some  of  the  most  poetical  thoughts  ever 
expressed  concerning  the  Abbey  came 
from  Macaulay's  pen. 

A  marble  statue  of  the  poet  Addison 
(d.  17 19),  buried  in  Henry  VII's  chapel 
is  fittingly  placed  in  this  aisle.  Macaulay 
describes  his  funeral.  The  body  after  lying 
in  state  in  the  Jerusalem  Chamber,  was 
brought  into  the  Abbey  at  dead  of  night, 
according  to  the  custom  of  the  day,  and 
the  procession  moved  solemnly  by  torch- 
light, down  the  long  aisle,  past  the  Con- 

*Trevelyan. 

174 


The  South  Transept 

fessor's  tomb,  and  the  tombs  of  the 
Plantagenets  to  the  great  chapel.  The 
Westminster  scholars  with  their  white 
tapers,  attended,  in  memory  of  the  poet's 
connection  with  their  school.  The  statue, 
tardily  erected  a  century  after  Addison's 
death,  shows  the  poet  with  the  mild  face 
and  mirth-loving  mouth  familiar  to  us 
from  his  pictures,  and  was  copied  from 
portraits  in  the  Kitcat  collection  and  in 
Queen's  College.  The  poet  is  dressed  in 
flowing  robes,  grasps  a  roll  of  parchment 
and  books  are  by  his  side.  The  Nine 
Muses  with  their  emblems  are  sculptured 
around  the  base  of  the  pedestal.  Macau- 
lay  wrote  of  this  monument:  "It  repre- 
sents him  as  we  can  conceive  him,  clad  in 
his  dressing-gown  and  freed  from  his  wig, 
stepping  from  his  parlour  in  Chelsea  into 
his  trim  little  garden,  with  the  account  of 
"The  Everlasting  Club,"  or  "The  Loves 
of  Hilpa  and  Shalum"  just  finished  for  the 
next  day's  Spectator  in  his  hand. 

Richard  Hakluyt,  the  geographer  (d. 
1616),  a  Westminster  scholar  whose 
early  intense  interest  in  voyages  and  dis- 
coveries led  him  to  read  eagerly  every- 
thing that  he  could  find  on  these  subjects, 
one  of  the  promoters  of  the  South  Vir- 
ginia Colony,  is  buried  in  this  aisle  but 
without  memorial.     His  chief  works  were 

175 


Westminster  Ahhey 

"Divers  Voyages  touching  the  Discovery 
of  America,"  and  "Principal  Navigations, 
Voyages  and  Discoveries  of  the  English 
Nation,"  written  in  order  to  controvert 
French  criticism  of  English  discoveries. 
Froude  called  the  latter  "the  prose  epic  of 
the  modern  English  nation."  Hakluyt 
became  a  prebendary  of  V^estmlnster.  He 
translated  de  Sola's  "Travels"  under  the 
title  "Virginia  Richly  Valued." 

The  grave  and  monument  of  Handel 
(d.  1759,  aet.  74),  are  in  the  south  bay 
of  this  aisle.  Handel  first  came  to  Eng- 
land in  1 7 10,  and  spent  the  greater  part 
of  the  last  fifty  years  of  his  life  here.  He 
received  an  annuity  of  £2000  from 
Queen  Anne  and  later  the  same  sum  in 
addition  from  George  I,  and  was  ap- 
pointed instructor  of  the  daughters  of  the 
Princess  of  Wales  and  composer  of  the 
Court.  On  the  death  of  Queen  Caroline 
he  wrote  the  beautiful  anthem,  "The 
Ways  of  Zion  Do  Mourn."  Nearly  all 
his  great  oratorios  were  composed  in 
England,  "The  Messiah"  in  1741. 
Though  impetuous  and  often  rough  in 
speech,  Handel  was  of  a  deeply  religious 
nature  and  during  the  last  years  of  his 
life,  attended  public  prayers  twice  daily. 
While  writing  "The  Messiah"  he  was 
often  in  tears  and  at  the  Hallelujah 
176 


The  South  Transept 

Chorus  he  said:  "I  did  think  I  did  see  all 
heaven  open  before  me  and  the  great  God 
himself."  When  the  Bishop  sent  him 
words  for  the  anthem  to  be  composed  for 
the  coronation  of  George  II,  Handel  took 
offence,  thinking  it  implied  that  he  was 
ignorant  of  Holy  Scripture.  "I  have  read 
my  Bible  very  well,"  he  said,  "and  shall 
chuse  for  myself."  He  bequeathed  the 
the  manuscript  of  "The  Messiah"  to  the 
Foundling  Asylum  in  London,  where  it 
may  still  be  seen. 

He  was  taken  ill  after  a  performance 
of  his  greatest  oratorio  at  Covent  Gar- 
den and  died  a  week  later,  on  Easter  Eve, 
April  14,  at  his  home,  now  25  Brook 
Street.  He  had  wished  to  breathe  his  last 
on  Good  Friday,  in  hopes,  as  he  said,  of 
meeting  his  dear  Lord  on  the  day  of  his 
resurrection.  The  funeral,  which  was  to 
have  been  private,  was  attended  by  nearly 
three  thousand  presons.  Handel's  great 
monument  was  in  accordance  with  the 
taste  of  the  period  and  was  made  by 
Roubiliac.  It  is  set  in  a  niche  hollowed 
out  in  the  wall  and  represents  the  com- 
poser's unwieldy  figure,  the  face  mod- 
elled from  a  death  mask,  standing  with  a 
scroll  open  at  his  solo  in  "The  Messiah," 
"I  know  that  my  Redeemer  Liveth."  A 
marble  pipe  organ  fills  up  the  background 

177 


Westminster  Abbey 

and  an  angel  sitting  on  heavy  marble 
clouds  plays  a  harp  to  which  Handel 
seems  listening.  Above  is  an  inscription 
relating  to  the  Handel  Festival  in  the 
Abbey  on  the  centennial  of  the  composer's 
birth,  in  1784.  "In  the  presence  of 
George  III,  the  music  of  Handel  was  ren- 
dered by  a  band  of  525  vocal  and  instru- 
mental performers.  It  seemed  to  elevate 
the  soul  above  the  skies."  On  this  occa- 
sion the  western  part  of  the  church  from 
the  entrance  to  the  choir  was  fitted  up  as 
a  musical  chapel.  "Thrones  and  seats 
for  the  royal  family  and  for  the  arch- 
bishops and  bishops  were  placed  at  the 
east  end.  The  orchestra  was  at  the  west 
end,  the  seats  ascending  regularly  to  a 
height  of  forty  feet  from  the  base  of  the 
pillars  and  was  terminated  by  a  magnifi- 
cent organ.  Every  species  of  instrument 
capable  of  producing  an  effect  in  this  spa- 
cious edifice  and  the  best  vocal  talent  were 
employed." 

Jenny  Lind  Goldschmidt,  "the  Swedish 
nightingale,"  who  died  In  England  in 
1889,  has  a  white  and  grey  marble  tablet 
with  portrait  head,  below  the  monument 
of  Handel,  whose  music  she  Interpreted 
with  almost  perfect  appreciation.  On 
the  border  of  the  tablet  is  Inscribed  a  line 
of  the  solo  which  she  sang  with  a  charm 

178 


The  South  Transept 

amounting  to  inspiration,  "I  Know  That 
My  Redeemer  Liveth,"  and  below  is  a 
harp  encircled  by  a  wreath  of  bay.  In 
1852  she  was  happily  married  to  Otto 
Goldschmidt,  who  became  a  British  sub- 
ject, and  in  1858  they  decided  to  make 
England  their  home.  She  died  at  her 
cottage  in  Malvern  Hills,  after  great  suf- 
fering patiently   endured. 

In  the  pavement  of  this  bay  is  the 
grave  of  Charles  Dickens,  who  died  at 
Gadshill,  near  Rochester,  in  1870.  He 
had  wished  to  be  buried  in  the  quiet  little 
churchyard  at  Shorne :  the  dean  and  chap- 
ter of  Rochester  cathedral  begged  that 
their  church  might  be  honoured  by  his 
burial,  "but  a  louder  voice,  the  voice  of 
the  English  nation,  came  from  Westmin- 
ster Abbey  and  the  family  agreed."  In 
his  will  Dickens  gave  directions  for  his 
funeral  which  were  exactly  followed. 

"I  direct  that  my  name  be  inscribed  in 
plain  English  letters  on  my  tomb.  I  con- 
jure my  friends  on  no  account  to  make  me 
the  subject  of  any  monumental  memorial 
or  testimonial  whatever.  I  rest  my  claim 
to  the  remembrance  of  my  country  on  my 
published  works:  and  to  the  remembrance 
of  my  friends  on  their  experience  of  me 
in  addition  thereto.  ...  I  commit  my 
soul  to  the  mercy  of   God  through  our 

179 


Westminster  Abhcy 

Lord  Jesus  Christ:  and  I  exhort  my  dear 
children  humbly  to  guide  themselves  by 
the  teaching  of  the  New  Testament  in  its 
broad  spirit  and  to  put  no  faith  in  any 
man's  narrow  construction  of  its  letter." 
In  accordance  with  his  wish  the  coffin 
was  of  plain  oak  and  only  the  immediate 
family  and  friends  with  the  clergy 
remained  in  the  great  edifice  when  the 
doors  were  closed  after  the  entrance  of  the 
procession.  "Our  small  group,"  the 
daughter  says,  "in  that  great  space 
seemed  to  make  the  beautiful  words  of 
our  beautiful  burial  service  even  more 
than  usually  solemn  and  touching.  There 
was  none  of  the  usual  ghastly  accompani- 
ment on  an  English  funeral  which  my 
father  strongly  objected  to.  Nothing  so 
grand  or— so  touching  could  have  accom- 
panied it  as  the  stillness  and  the  silence  of 
that  vast  church.  .  .  .  There  was  no  chant- 
ing, no  intoning,  but  between  the  prayers 
the  organ  played  in  a  low  key  an  appropri- 
ate accompaniment.  The  service  concluded, 
the  coffin  was  adorned  with  flowers  by 
the,  hands  of  his  most  loved  relatives. 
Fern  leaves  and  roses  were  ranged  about 
the  head:  a  chaplet  of  camelias  at  the  feet 
and  white  and  red  roses  were  spread 
about  the  lid.  'The  sides  of  the  grave 
were  lined  with  black  cloth,  but  it  was  not 
i8o 


The  South  Transept 

difficult  to  see  that  the  foot  of  Handel's 
coffin  nearly  touched  the  head  of  that  of 
my  father.  He  loved  music  and  Handel 
was  to  him  a  mighty  master." 

Later  in  the  day  and  for  many  days 
thereafter,  hundreds  of  mourners  flocked 
to  the  open  grave,  filling  the  deep  vault 
with  flowers  and  adding  the  tribute  of 
tears.  ',  His  is  one  of  the  few  tombs  in  the 
Abbey  which  seems  never  to  be  forgotten., 
In  her  little  memorial  volume,  his  daugh- 
ter writes:  "Every  year  on  the  ninth  of 
June  and  on  Christmas  Day,  we  find  other 
flowers  strewn  by  unknown  hands  in  that 
spot  so  sacred  to  us:  and  every  year 
beautiful,  bright-coloured  leaves  are  sent 
to  us  from  across  the  Atlantic  to  be  placed 
with  our  own  flowers  on  that  dear  grave." 

A  large  heavy  monument  on  the  south 
wall  commemorates  John,  Duke  of  Argyll 
and  Greenwich,  who  died  in  1743,  a  noble- 
man much  esteemed  in  his  day,  buried  in 
Henry  VII's  chapel.  Readers  of  "The 
Heart  of  Midlothian"  will  remember  that 
it  was  this  Duke  who  introduces  Jeanie 
Deans  to  Queen  Caroline  at  Richmond 
Park.  "He  is  very  dear  to  the  hearts  of 
his  countrymen,"  says  Jeanie  Deans' 
father,  "and  one  who  pleads  the  cause  of 
the  poor  and  those  who  have  none  to  help 
them."     Behind  the   lofty  monument   is 

181 


Westminster  Abbey 

the  staircase  leading  up  to  the  Monks' 
Dormitory  passage. 

Two  names  of  great  men  who  need  no 
monument  to  perpetuate  their  fame 
appear  on  memorial  tablets  east  of  the 
Argyll  monument.  A  marble  medallion 
to  Sir  Walter  Scott  (d.  1833)  showing 
f  the  kindly,  serious  face  of  the  great  novel- 
ist, was  placed  here  in  1897.  The  bust  is 
draped  in  a  plaid  confined  by  a  cairngorm 
and  is  a  replica  of  one  by  Chantrey  at 
Abbotsford.  At  the  unveiling  of  the 
medallion,  Hon.  John  Hay,  then  Ameri- 
can ambassador  to  England,  said:  "I 
doubt  if  anywhere  his  writings  have  had 
a  more  loving  welcome  than  in  America. 
The  books  a  boy  reads  are  those  most 
ardently  admired  and  longest  remem- 
bered: and  America  revelled  in  Scott 
when  the  country  was  young.  I  have 
heard  from  my  father,  a  pioneer  of  Ken- 
tucky that  in  the  early  days  of  this  cen- 
tury men  would  saddle  their  horses  and 
ride  from  all  the  neighbouring  counties 
to  the  principal  post-town  of  the  region 
when  a  new  novel  by  the  author  of  'Wav- 
erley'  was  expected." 

A  medallion  and  monument  to  Oliver 

Goldsmith    (d.    1774)    appears   over  the 

door  to  the  chapel  of  St.  Faith,  the  design 

and  the  location  due  to  Sir  Joshua  Reyn- 

182 


The  South  Transept 

olds.  Books,  a  comic  mask  and  laurel 
branches  are  grouped  around  the  medal- 
lion. The  Latin  inscription  by  Dr.  John- 
son is  of  the  pompous  sort  which  its 
author  deemed  suitable  for  the  Abbey,  but 
is  placed  so  high  that  few  can  read  it. 
"In,  everything  that  he  said  or  did,  good 
nature  was  predominant  ...  in  speech, 
pompous  ...  in  conversation,  elegant 
and  graceful.  The  love  of  his  associates, 
fidelity  of  his  friends  and  the  veneration 
of  his  readers  raised  this  monument  to  his 
memory."  Goldsmith  was  buried  in  The 
Temple  churchyard.* 

On  the  south  wall  is  a  bronze  medal- 
lion enclosed  within  a  wreath  of  bronze 
to  John  Ruskin,  who  died  in  1900.  Burial 
within  the  Abbey  was  offered  for  this 
famous  writer,  but  was  not  accepted  by 
his  relatives  and  he  lies  at  his  home  in 
Cockermouth. 

On  the  left  of  the  door  to  St.  Faith's 
chapel  is  a  large  monument  of  black  and 
white  marble  to  the  poet,  John  Gay  (d. 
1732),  with  a  medallion  from  which  a 
cherub  is  removing  drapery.     The  face  is 

*Goldsmith  and  Johnson  had  one  day  been  looking 
at  the  tombs  in  the  Poets'  Corner  and  Johnson 
quoted  a  line  from  Ovid:  "Forsitan  et  nostrum 
miscebttur  istis."  "Perchance,  some  day,  our  names 
may  mix  with  theirs." 

183 


Westminster  Ahhep 

affable,  round,  full,  boyish,  indolent:  the 
mobile  mouth,  level  brows,  full  eyes  and  the 
slouch  hat  worn  rakishly  suggest  a  faithful 
presentment  of  this  eighteenth  century 
poet.  The  monument  was  erected  by  the 
Duke  and  Duchessof  Queensberry,  who,  in 
his  later  ye'ars  offered  the  poet  a  home, 
and  who,  says  the  inscription,  "loved  this 
excellent  person  living  and  regret  him 
dead."  The  Duchess  was  a  somewhat 
too  ardent  advocate  of  the  poet's  interests 
and  was  dismissed  from  Court  for  solicit- 
ing subscriptions  to  one  of  his  books  with- 
in the  precincts  of  St.  James.  Pope's  epi- 
taph describes  him  as  in  wit  a  man,  in 
simplicity,  a  child;  "the  warmest  friend, 
the  gentlest  companion  and  the  most  benev- 
olent of  men."  Various  emblems  are 
grouped  around  the  monument,  among 
them  a  syrinx,  a  musical  instrument  made 
of  six  pipes  of  different  lengths  bound  to- 
gether, in  allusion  to  the  variety  of  Gay's 
productions.  On  the  pedestal  is  Inscribed, 
by  his  own  request,  his  famous  couplet, 
sent  In  a  flippant  letter  to  Pope. 

"Life  is  a  jest  and  all  things  show  it, 
I  thought  so  once,  but  now  I  know  it." 

Nicholas  Rowe,  poet  laureate  (d. 
171 8),  has  a  large  monument  with  laurel- 
crowned  bust  In  the  second  bay  east  of  the 
door  to  St.  Faith's  chapel,  showing  the  fine 

184 


The  South  Transept 

delicate  features  of  the  friend  of  Pope,  to 
whom  two  lines  of  his  epitaph  are  attrib- 
uted. 

"Peace  to  thy  gentle  shade,  and  endless  rest, 
Blest  in  thy  genius,  in  thy  love,  too,  blest." 

A  large  figure  of  his  widow,  over- 
whelmed with  grief,  is  seated  by  the  bust, 
against  which  she  leans  heavily.  "But," 
says  Miss  Bradley,  "she  disconcerted  the 
author  of  the  epitaph  by  marrying  again 
shortly."  The  daughter,  Charlotte,  who 
died  a  young  bride,  is  commemorated  by  a 
medallion  suspended  on  a  pyramid  over 
the  bust. 

A  short  section  of  wall  partitions  off 
the  southmost  bay  of  the  central  aisle  from 
the  east  aisle  of  this  transept,  and  against 
the  partition  the  altar  of  St.  Blaise  for- 
merly stood.  Several  monuments  are 
located  here. 

James  Thomson  (d.  1748),  author  of 
"The  Seasons,"  has  a  white  marble  monu- 
ment consisting  of  a  heavy  square  pedes- 
tal supported  on  brackets,  with  a  figure 
of  the  poet  in  Roman  toga  and  sandals, 
leaning  against  the  pedestal.  A  Genius 
points  to  a  bas  relief  of  The  Seasons  with 
their  emblems,  carved  on  the  pedestal,  and 
offers  a  laurel  wreath  to  the  poet. 

A  white  marble  bust  of  Burns  (d. 
1796)    above  Thomson's  monument,  was 

185 


Westminster  Ahhey 

erected  at  public  expense,  by  shilling  con- 
tributions to  which  people  of  Scotland,  of 
high  and  low  degree  contributed,  and  was 
unveiled  by  Lord  Rosebery  in  1885.  The 
poet  is  represented  in  the  gay  and  happy 
mood  so  familiar  in  his  portraits,  and 
which  so  well  became  his  handsome  fea- 
tures. 

To  Shakespeare  (d.  1616)  a  monu- 
ment was  erected  here  in  1740,  and  the 
expense  of  it  met  by  benefit  performances 
at  Drury  Lane  and  Covent  Garden 
theatres.  A  life-size  statue  of  the  poet  is 
represented  leaning  on  a  pile  of  books 
which  rest  on  a  lofty  ornamented  pedestal. 
One  hand  points  to  a  scroll  on  the  pedestal 
which  bears  the  exquisite  lines  from  "The 
Tempest" : 

"The  cloud  capped  towers,  the  gorgeous  palaces 
The  solemn  temples,  the  great  globe  itself, 
Yea,  all  which  it  inherit,  shall  dissolve, 
And  like  this  insubstantial  pageant  faded. 
Leave  not  a  rack  behind." 

The  face  is  that  familiar  to  us:  the  cos- 
tume, that  of  the  period,  with  a  short 
mantle.  On  the  angles  of  the  pedestal 
are  three  crowned  heads  those  of  Richard 
III  and  Henry  V,  of  whom  he  wrote,  and 
Elizabeth,  his  patron.  A  bay  wreath, 
daggers  and  a  mask  also  appear,  and  on  a 
tablet  at  the  back  of  the  monument  is  the 
inscription  Amor  piihlicus  posuit.  The 
186 


^  > 


The  South  Transept 

statue  was  considered  so  successful  that  it 
was  copied  for  use  in  Leicester  Square  and 
at  Chalk  Farm. 

Mrs.  Hannah  Pritchard  (d.  1768),  a 
famous  actress  of  her  day,  has  a  memorial 
tablet  of  white  and  coloured  marbles  in 
this  aisle.  A  woman  of  blameless  life, 
she  was  the  greatest  Lady  Macbeth  of  the 
time  but  candidly  confessed  that  she  had 
never  read  the  play  throughout.  Camp- 
bell wrote  of  her  "large,  speaking  eyes, 
which  she  half  shut  with  so  much  archness 
in  comedy,  and  of  the  graceful  features 
and  spirited  mien  that  could  put  new  life 
in  tragedy."  Next  to  Siddons,  who  had 
majesty,  she  was  probably  the  most  beau- 
tiful woman  that  ever  trod  the  English 
stage. 

Here  is  a  fine  bust  of  Southey,  a  West- 
minster scholar,  poet  laureate  to  Queen 
Victoria,  who  died  in  1843  ^^'^  sleeps  in 
the  beautiful  churchyard  of  St.  Crosth- 
waite  at  Keswick,  where  he  made  his  home 
with  the  other  Lake  Poets. 

A  noble  bust  of  Coleridge,  who  died  in 
1834,  was  presented  by  Dr.  Mercer,  an 
American  admirer  of  the  poet,  in  1885, 
and  was  unveiled  by  James  Russell  Lowell. 
It  is  placed  on  a  pillar  at  the  end  of  this 
south  bay:  the  pose  is  admirable,  the  look, 
uplifted.     Wordsworth    said    that    many 

187 


Westminster  Ahhey 

men  of  his  age  had  done  wonderful  things 
but  that  Coleridge  was  the  only  wonderful 
man  he  knew.  Coleridge  wrote  his  own 
epitaph,  which  was  never  used:  the  con- 
cluding lines  are : 

"Mercy   for  praise  ...  to   be    forgiven   for   fame 

He  asked,  and  hoped  through  Christ.     Do  thou  the 
same." 

An  inscription  on  the  site  of  the  old 
altar  of  St.  Blaise  records  the  burial  in  the 
pavement  of  Owen  Tudor,  son  of  the 
"handsome  Kate,"  Henry  V's  queen  by 
her  second  marriage  to  a  Welsh  gentle- 
man: the  son  became  a  monk  of  this  Abbey 
and  here  died  and  was  buried:  also  of 
Nicholas  Litlington,  a  provident  Abbot  of 
Westminster,  the  reputed  son  of  Edward 
III,  builder  of  the  Jerusalem  Chamber 
and  of  numerous  other  conventual  build- 
ings, who  died  in  1386:  and  William  Ben- 
son, the  last  Abbot  of  Westminster  and  its 
first  Dean,  who  died  in  1549.  The  stone 
was  inscribed  through  Dean  Stanley's  care. 

The  poet  Campbell  died  at  Boulogne  in 
1844,  and  a  year  later  his  body  was 
brought  here  for  interment.  His  monu- 
ment has  a  high  pedestal  and  a  life-size 
statue  in  which  he  appears  in  the  robes  of 
his  office  as  Lord  Rector  of  Glasgow  Uni- 
versity, and  shows  a  fine  face  with  thin, 
compressed  lips:  he  holds  a  book  and  a 


The  South  Transept 

manuscript.  At  the  base  are  seen  rolls  of 
parchment,  a  lyre  and  a  laurel  wreath. 
The  noble  inscription,  from  "The  Last 
Man,"  is  probably  the  best  that  could  be 
selected  from  his  poems  for  this  purpose : 

"This  spirit  shall  return  to  Him 
Who  gave  its  heavenly  spark, 
Yet  think  not,  sun,  it  shall  be  dim. 
When  thou  thyself  art  dark. 
No,  it  shall  live  again  and  shine 
In  bliss  unknown  to  beams  of  thine, 
By  Him  recalled  to  breath, 
Who,  captive,  led  captivity, 
Who  robbed  the  grave  of  victory 
And  took  the  sting  from  death." 

A  noble  company  of  sleepers  rest  be- 
neath the  pavement  of  the  main  aisle  of 
this  transept.  Not  all  have  monuments 
on  its  wall  but  here  are  buried  Garrick, 
Handel,  Macaulay  and  Campbell. 

Dr.  Samuel  Johnson,  who  died  in  1784, 
is  buried  close  by  his  early  friend,  Garrick, 
and  within  a  few  feet  of  his  deadly  enemy, 
the  poet  James  Macpherson,  author  of 
"Ossian,"  whose  body  was  brought  here 
from  Inverness.  Leigh  Hunt  says  of  Dr. 
Johnson:  "One  thing  he  did,  perhaps, 
beyond  any  man  in  England  before  or 
since;  he  advanced  by  the  powers  of  his 
conversation,  the  strictness  of  his  veracity 
and  the  respect  he  exacted  towards  his 
presence,  what  may  be  called  the  personal 
dignity  of  literature,  and  has  assisted  men 
with  whom  he  little  thought  of  co-operat- 

189 


Westminster  Abbey 

ing  in  settling  the  claims  of  truth  and 
beneficence  before  all  others."  Concern- 
ing Johnson's  generosity,  Mrs.  Thrale 
tells  us  that  in  his  rooms  at  Bolt  Court 
many  sick  and  sorrowing  found  a  sure 
retreat  from  all  the  evils  whence  his  little 
income  could  secure  them  and  that  while  he 
commonly  spent  the  middle  of  the  week 
with  the  Thrales,  "he  kept  his  numerous 
family  in  Fleet  Street  upon  a  settled  allow- 
ance: but  returned  to  them  every  Satur- 
day to  give  them  three  good  dinners  and 
his  company,  treating  them  with  the  same 
or  perhaps  more  ceremonious  civility 
than  he  would  have  done  by  as  many  peo- 
ple of  fashion,  making  the  Holy  Scriptures 
thus  the  rule  of  his  conduct." 

The  body  of  Sir  Henry  Irving,  the  well- 
known  actor  and  manager,  who  died  in 
1905,  was  cremated  and  the  ashes  depos- 
ited under  a  slab  near  that  of  Dr.  John- 
son. Though  an  old  man,  he  died  in  the 
midst  of  his  labours,  while  touring  in  the 
provinces,  appearing  in  his  favourite 
roles. 

Buried  here  is  Richard  Brinsley  Sheri- 
dan, who  died  in  18 16,  "equally  the  de- 
light of  society  and  the  grace  of  literature 
...  a  bold  reprover  of  the  selfish  spirit 
of  party  and  throughout  a  period  fruitful 
of  able  men  and  trying  circumstances,  the 

190 


The  South  Transept 

most  popular  specimen,  in  the  British 
Senate,  of  poHte  consistency,  intrepidity  and 
honour."  A  long  funeral  train  followed 
him  to  burial.  He  never  liked  to  be  called 
a  dramatic  writer,  "and  would  have  pro- 
tested loudly*  against  being  buried  In  the 
Poets'  Corner,  which  was  his  aversion,  and 
would  have  preferred  to  be  placed  near 
Fox."  However,  his  "School  for  Scan- 
dal" and  "The  Rivals"  are  likely  to  pre- 
serve his  memory  better  than  his  states- 
manship. 

A  very  small  stone  to  a  very  large  and 
very  old  man,  Thomas  Parr,  who  died  in 
1635  at  the  age  of  152  years,  may  be  seen 
under  the  benches  a  little  way  down  the 
main  aisle  of  the  transept  on  the  left  as 
you  come  from  the  crossing.  The  stone 
records  the  fact  that  the  old  man  lived  in 
the  reigns  of  ten  kings,  from  Edward  IV 
to  Charles  I.  The  slab  is  only  twenty-nine 
inches  long  for  this  notable  but  by  no 
means  (except  for  his  age)  remarkable 
man.  He  was  known  as  the  Old,  Old, 
Very  Old  Man.  He  died  in  London, 
whither  he  had  been  brought  by  Lord 
Arundel,  and  was  for  some  time  exhibited 
at  the  Queen's  Head  in  The  Strand.  His 
portrait  was  painted  when  he  was  140 
years  old  by  Rubens,  and  his  complexion 
*Lord  Thanet. 

191 


Westmmstcr  Abhcy 

was  then  like  a  girl's.  The  autopsy 
revealed  a  remarkably  healthy  body,  and 
that  the  probable  cause  of  his  death  was 
the  change  from  the  fresh  air  and  plain 
food  of  the  country  to  that  of  London. 

Dame  Mary  Steele,  the  second  wife  of 
Richard  Steele,  the  "dearest  Prue"  whom 
he  met  at  the  funeral  of  his  first  wife,  died 
in  17 1 8  and  is  buried  near  here,  but  with- 
out a  memorial.  A  series  of  four  hun- 
dred letters  written  to  her  by  Steele  Is  pre- 
served in  the  British  Museum.  In  the 
earlier  correspondence  he  calls  her  his 
Charmer  and  Inspirer:  later,  she  is  the 
Ruler  and  Absolute  Governor.  Steele 
was  undeniably  erratic  in  his  ways,  and, 
says  one,  "must  have  been  gey  ill  to  live 
with." 


192 


CHAPTER  X 

THE  SOUTH  TRANSEPT 

(Continued) 

The  East  aisle  of  the  south  transept 
contains  four  of  the  greatest  poets  buried 
in  the  Abbey,  Chaucer,  Spenser,  Browning 
and  Tennyson,  and  is  the  aisle  to  which 
the  name  Poets'  Corner  was  first  applied. 

The  architectural  features  of  the  aisle 
are,  in  general,  those  of  the  main  transept. 
Much  of  the  beautiful  diaper  work  and 
sculptured  figure  work  of  the  wall  arcade 
in  the  main  stage  has  been  ruthlessly 
hacked  away  in  order  to  admit  disfiguring 
monuments;  but  some  portions  remain  on 
the  east  wall  and  on  the  south  are  frag- 
ments of  carving  begun  but  left  incom- 
plete.    Some  good  corbels  also  remain. 

The  south  wall  is  built  in  three  stages : 
the  lowest  repeating  the  graceful  arcade 
of  three  trefoiled  arches  contained  under 
a  rather  broad  principal  arch:  and  above 
are  two  corbels,  one  representing  a  small, 
prim  angel  with  folded  hands. 

The  triforium  wall  has  a  blank  arcade 

193 


Westminster  Ahhey 

at  the  back  and  is  carved  in  two  planes 
with  a  passage  between.  In  the  third 
stage  is  a  small,  two-light  window  with 
deeply  splayed  sill  and  its  mouldings  are 
many  and  rich. 

A  modern  memorial  window  to  Chaucer 
and  one  to  Edward  the  Confessor  enrich 
the  east  wall. 

The  chapel  of  St.  Blaize  in  the  middle 
aisle  of  this  transept  had  its  altar  built 
against  a  partition  between  the  southmost 
bay  and  the  east  aisle,  as  we  have  seen. 
On  the  east  side  of  this  partition  wall  are 
tablets  to  Charles  de  St.  Denis,  Seigneur 
de  St.  Evremond  (d.  1703)  a  famous  Nor- 
mandy nobleman  exiled  in  England,  a 
polite  writer  and  wit  of  Charles  II's  court: 
and  to  Granville  Sharp  (d,  18 13),  grand- 
son of  an  Archbishop  of  York,  a  pioneer 
opponent  of  the  slave  trade.  The  inscrip- 
tion on  his  tablet  thus  concludes:  "The 
reader  who  suspects  this  lengthy  epitaph  to 
be  partial  or  diffuse  is  counselled  that  It 
is  not  Panegyric  but  History."  On  one 
side  of  the  medallion  is  a  relief  of  a  negro 
slave  in  chains:  on  the  other,  a  benevolent 
looking  lion  gazing  down  on  two  fat  lambs 
who  are  nestling  confidently  near. 

Matthew  Prior,  the  poet  (d.  1721), 
was  an  ardent  admirer  of  Spenser  and  his 
request  to  be  buried  at  the  feet  of  that 

194 


The  South  Transept  (Continued) 

poet  was  granted.  The  most  interesting 
feature  of  the  large  monument  by  Rys- 
brack  is  the  fine  bust,  wrought  by  the 
French  sculptor,  Antoine  Coysevox,  a  gift 
to  the  poet  from  Louis  XIV  when  Prior 
was  Plenipotentiary  at  the  French  Court. 
On  the  sarcophagus  are  represented  Tha- 
lia, the  Muse  of  Poetry,  and  Clio,  the 
Muse  of  History,  the  latter  with  a  clasped 
book,  probably  suggesting  "The  Account 
of  My  Own  Times,"  on  which  Prior  was 
engaged  at  the  time  of  his  death.  He  w^as 
Secretary  of  State  for  Ireland  and  engaged 
in  the  negotiations  at  the  Treaty  of  Rys- 
wick.  Prior  composed  his  own  epitaph 
but  Dean  Atterbury  considered  it  impious 
and  assured  him  that  it  should  never  be 
used  so  long  as  he  was  in  office :  and  a  long 
Latin  epitaph,  by  Dr.  Friend,  Headmaster 
of  the  Westminster  School  when  Prior  was 
a  pupil  there,  was  substituted.  The  monu- 
ment cost  £500,  left  by  the  poet  in  his  will, 
"for  this  last  piece  of  human  vanity." 

Thomas  Shadwell,  Poet  Laureate  of 
William  III  and  Mary  (d.  1692),  buried 
at  Chelsea,  has  a  tablet  and  bust  showing  a 
full,  round  face,  the  head  crowned  with 
bay.  He  was  the  hated  rival  of  Dryden, 
who  also  sleeps  in  this  aisle,  displaced  by 
Queen  Mary  in  favour  of  Shadwell.  He 
is  the  "Og"  of  Dryden's  "Absalom  and 

195 


Westminster  Abbey 

Achitopel"  and  the  subject  of  some  of  that 
poet's  bitterest  lines: 

"Others  to  some  faint  meaning  make  pretence 
But  Shadwell  never  deviates  into  sense." 

William  Mason,  the  poet,  the  friend  of 
Grey  (d.  1797),  has  a  marble  tablet  on 
the  wall  south  of  Prior's,  on  which  the 
relief  of  a  female  figure  representing 
Poetry  is  weeping  over  the  smug  features 
of  Mason's  medallion.  The  clasp  of  her 
robe  bears  a  Pegasus.  The  Latin  epitaph 
describes  the  poet  as  "cidto,  casto,  pio." 

John  Milton  (d.  1674),  buried  at  St. 
Giles,  Cripplegate,  has  a  monument  by 
Rysbrack  on  the  south  wall,  but  it  was 
not  erected  till  1737.  As  Latin  Secretary 
to  the  Council  of  the  Commonwealth,  the 
name  of  Milton  was  long  held  as  anathe- 
ma by  the  loyal  Chapter  of  the  Abbey, 
and  not  until  Dean  Wilcock's  time  was 
any  acknowledgement  of  his  genius  per- 
mitted within  the  church.  Even  so  late  as 
17 10,  Dean  Sprat  would  not  allow  a  cas- 
ual mention  of  the  Puritan  poet's  name  on 
his  nephew's  epitaph,  considering  it  pollu- 
tion. The  monument  was  put  up  by  Audi- 
tor Benson,  Surveyor  General  to  George 
I,  an  ardent  admirer  of  Milton's  poetry. 
Of  the  twelve  lines  in  the  epitaph,  four  are 
devoted  to  the  poet,  six  to  the  Auditor  and 
two  to  the  sculptor.  The  monument  con- 
196 


o  z 
z 

.  w 

■-^  z 

< 


■m 


c-,1-4 


The  Soittli  Transept  (Continued) 

sists  of  a  lofty  marble  slab  and  a  bust  of 
white  marble  showing  the  serious,  even 
sad  face,  with  long  head  and  flowing 
hair.  At  the  base  of  the  bust  is  a  lyre 
and  a  serpent  with  the  Apple  of  Knowl- 
edge in  his  mouth. 

The  poet  Thomas  Grey  (d.  1771), 
author  of  "The  Elegy  in  a  Country 
Churchyard,"  is  buried  at  Stoke  Pogis. 
He  is  remembered  here  by  a  medallion 
portrait  held  by  a  figure  representing  the 
Lyric  Muse  which  is  pointing  upward  to 
Milton's  bust.  The  portrait  is  considered 
excellent.  The  epitaph  was  written  by 
Grey's  friend  the  poet  Mason: 

"No  more  the  Grecian  Muse  unrivalled  reigns, 
To  Britain  let  the  nations  homage  pay, 
She  felt  a  Homer's  fire   in  Milton's  strains, 
A  Pindar's  rapture  in  the  lyre  of  Grey." 

Samuel  Butler  (d.  1680),  the  author 
of  "Hudibras,"  has  a  monument  here  but 
is  buried  elsewhere.  The  son  of  a  Wor- 
cestershire farmer,  his  best-known  poem 
appeared  anonymously  when  he  was  fifty 
years  of  age.  It  speedily  received  the 
favour  of  Charles  II  and  his  court,  but 
the  King's  favour  though  lavishly  ex- 
pressed and  resulting  in  fame  and  pleasure 
to  the  poet,  brought  with  it  no  substantial 
benefit.  Butler  had  previously  achieved 
some  reputation  as  an  artist  and  had 
painted  Cromwell's  head  from  life.  One 
197 


Westminster  Abbey 

of  Cromwell's  generals,  Sir  Samuel  Luke, 

was  the  original  of  Hudibras,  "a  knight 

as  errant  as  ere  was."     So  fond  of  the 

poem  was  the  pleasure-loving  King  that  it 

was  said: 

"He  never  ate  nor  drank  nor  slept, 
But  Hudibras  still  near  him  kept, 
Nor  would  he  go  to  church  or   so. 
But  Hudibras  must  with  him  go." 

Butler  is  described  as  a  short,  thick-set 
man,  having  a  mass  of  sorrel  hair:  a  man 
of  serene  and  sound  judgment  and  a  good 
fellow.  He  died  in  great  poverty  and  an 
unsuccessful  attempt  was  made  to  secure 
burial  for  him  in  the  Abbey  by  his  friend, 
Longueville,  a  generous  Bencher  of  the 
Inner  Temple,  but  there  was  no  one  to 
second  the  appeal  and  no  money  for  the 
Abbey  burial  fee.  His  body  was  taken  to 
St.  Paul's,  Covent  Garden,  and  there 
interred  by  Longueville's  kindness.  The 
monument,  with  tablet  and  bust,  was 
erected  in  172 1,  by  John  Barber,  an 
appreciative  Lord  Mayor  of  London,  a 
printer  by  trade.  The  epitaph,  trans- 
lated, contains  the  name  of  the  donor  and 
gives  as  a  reason  for  the  tomb,  "in  order 
that  he  who  lacked  almost  everything 
while  living,  might  not,  in  death,  lack  a 
tomb." 

Edmund  Spenser  (d.  1598),  Poet  Lau- 
reate to  Queen  Elizabeth,   "the  poet   of 

198 


The  South  Transept  (Continued) 

poets,"  has  a  plain  tomb,  near  which  he 
is  buried.  The  original  grey  marble  tomb 
fell  to  decay  and  this,  a  copy,  replaced  it 
in  1778.  The  epitaph,  translated,  reads: 
"Here  lies  (expecting  the  second  coming 
of  our  Saviour,  Jesus  Christ)  the  body  of 
Edmund  Spenser,  the  prince  of  poets  in 
his  time,  whose  divine  spirit  needs  no 
other  witness  than  the  works  which  he  left 
behind  him."  The  poet,  whose  home  was 
in  Ireland  in  his  later  years,  had  come  to 
London  as  bearer  of  official  dispatches 
and  died  a  month  later,  at  his  lodging  in 
King  Street,  Westminster.  The  story 
that  he  died  for  lack  of  bread  and  that 
he  refused  money  sent  him  by  Essex  has 
no  foundation  whatever.  As  a  state  mes- 
senger and  having  a  Laureate's  pension 
(equal  to  £400  of  our  money),  and  his 
income  as  sheriff,  a  state  of  abject  poverty 
is  hardly  probable.  Spenser  was  a  little 
man,  and  wore  "short  hair,  little  bands 
and  cuffs."  His  illness  must  have  been 
brief  and  sharp.  His  wife,  Elizabeth 
Boyle,  a  cultivated  woman  of  high  mental 
endowment,  was  with  him  at  the  last. 
Camden  tells  us  that  his  funeral  was 
attended  by  a  great  company  of  nobles 
and  poets,  the  latter  including  Beaumont, 
Fletcher,  Ben  Jonson,  Marlowe,  and 
probably  Shakespeare  (Spenser's  "Pleas- 
199 


Westminster  Abtey 

ant  Willy"),  each  throwing  into  the  open 
grave,  according  to  the  custom,  their 
mournful  elegies  and  the  pens  which  had 
written  them.  *'.What  a  grave,"  says 
Stanley,  "  in  which  the  pen  of  Shakespeare 
may  be  mouldering." 

Spenser  had  asked  to  be  buried  near 
Chaucer  and  his  wish  was  granted. 
Queen  Elizabeth  ordered  a  noble  monu- 
ment for  her  Laureate  but  the  order  was 
intercepted  and  the  money  embezzled  by 
an  avaricious  courtier.  In  1620,  a  monu- 
ment of  grey  marble  was  put  up  by  Ann 
Clifford,  Countess  of  Dorchester,  and  this 
has  been  restored  or  replaced  by  Pem- 
broke College,  Spenser's  alma  mater. 

A  little  low  plain  door  under  a  plain 
decayed  arch  in  this  angle,  leads  to  the 
crypt  of  the  chapter  house  (not  shown) 
and  to  the  triforium  stairs.  Note  the 
nails  studding  the  door  and  the  old  hinges. 

Ben  Jonson,  Poet  Laureate  to  James  I 
and  Charles  I,  was  born  in  Westminster, 
died  in  1637  and  is  buried  in  the  north 
nave  aisle,  but  has  a  tablet  over  this  door 
in  the  Poets'  Corner.  The  medallion  Is 
by  Rysbrack.  Jonson  had  experienced 
life  as  a  bricklayer,  working  for  his  step- 
father with  a  trowel  in  one  hand  and  a 
copy  of  Horace  in  the  other:  as  a  soldier, 
student.  Instructor  to  Sir  Walter  Raleigh's 

200 


The  South  Transept  (Continued) 

son,  as  an  actor,  a  dramatist,  and  finally 
Poet  Laureate.  Three  pendent  masks  on 
the  tablet  allude  to  the  variety  of  his  po- 
etic talents.  The  original  gravestone, 
with  the  inscription,  "O  rare  Ben  Jonson," 
is  in  the  wall  of  the  north  nave  aisle  near 
his  grave,  and  this  in  the  transept  is  a 
copy  of  it.  The  bust  shows  a  jovial,  rather 
full  face,  acute  features  and  sunken  eyes. 

A  door  in  the  east  wall  on  the  left 
opens  out  to  the  green  around  the  chapter 
house  and  is  an  excellent  place  from  which 
to  study  the  exterior  of  the  east  part  of 
the  Abbey.  The  walk  leads  on  to  the 
street  and  forms  a  third  entrance  to  the 
church,  one  much  prized  by  late  comers 
to  Sunday  services. 

Michael  Drayton  (d.  1631)  has  a  black 
marble  slab  with  bust  and  decorations  of 
coloured  marbles  on  the  east  wall  north 
of  the  outer  door.  The  excellent  epitaph, 
said  to  have  been  written  by  Ben  Jonson, 
proclaims  him  "a  memorable  poet  of  this 
age  who  exchanged  his  laurell  for  a 
Crowne  of  Glory."  The  face  has  a 
broad  mouth,  thick  lips,  and  a  high  round 
forehead  crowned  with  bay.  On  the  sides 
of  the  monument  appear  the  poet's  arms, 
Pegasus  volant  in  the  midst  of  tears:  and 
for  a  crest,  the  cap  of  Mercury  within  the 
beams  of  the  sun. 

201 


Westminster  Abbey 

Barton  Booth  (d.  1733),  the  actor,  at 
nine  a  pupil  at  the  Westminster  School 
under  the  famous  Busby,  an  ancestor  of 
the  American  family  of  this  name,  has 
a  monument  on  this  wall.  He  was  in- 
tended for  the  Church  but  won  immediate 
success  on  the  stage. 

A  modern  window  in  this  east  wall  was 
dedicated  to  St.  Edward  the  Confessor  in 
1903,  the  gift  of  a  citizen  of  Westminster. 
The  two  full  size  canopied  figures  repre- 
sent the  saint  and  St.  John  the  Evangelist, 
and  below  are  pictures  representing  scenes 
in  the  Confessor's  life.  Figures  of  va- 
rious English  sovereigns,  saints  and 
ecclesiastics  appear  in  the  borders. 

A  medallion  tablet  to  a  nephew  of  Mil- 
ton, John  Phillips  (d.  1708),  author  of 
"The  Splendid  Shilling"  and  "Cyder," 
represents  the  poet  under  a  luxuriant 
growth  of  apple  trees,  in  allusion  to  his 
once  famous  poem,  and  in  the  midst  of 
the  branches  is  a  label  bearing  the  inscrip- 
tion "Honor  erit  htiic  quoqiie  porno." 
Dean  Sprat  prohibited  an  epitaph  intended 
for  this  monument  because  it  contained 
Milton's  name,  saying  that  the  Abbey 
should  not  be  polluted  by  the  name  of  a 
Republican. 

Geoffrey  Chaucer  (d.  1400),  perhaps 
the  most  honored  name  of  a  poet  within 

202 


The  South  Transept  (Continued) 

the  church  walls,  lies  burled  in  this  aisle 
in  the  noble  company  of  Spenser,  Brown- 
ing and  Tennyson,  "enough  almost  to 
make  passengers'  feet  move  metrically 
who  go  over  the  place  where  so  much 
poetical  dust  is  interred,"  was  Fuller's 
comment,  while  yet  Spenser  and  Dryden 
were  the  only  poets  yet  placed  near  Chau- 
cer's side.  The  great  poet  was  not,  how- 
ever, buried  here  on  account  of  his  genius. 
London  was  his  birthplace,  "the  city  that 
is  to  me  so  dear  and  sweet  in  which  I  was 
birthgrown,"  he  says.  His  life  was 
passed  in  the  brilliant  atmosphere  of  the 
courts  of  Edward  III  and  Richard  II,  and 
he  had  first  served  as  a  page  In  the  Royal 
household  and  later  as  private  ambassa- 
dor to  Florence,  Genoa  and  Flanders. 
He  was  married  to  the  Flemish  Lady 
Philippa  Roet,  sister  to  John  of  Gaunt's 
third  wife,  Catherine  Swynford.  He  was 
learned  In  all  the  languages  and  literatures 
of  his  time,  and  had  conversed  with  Pe- 
trarch and  perhaps  with  Boccaccio  and 
Froissart.  It  is  difficult  to  realize  that, 
following  this  favoured  life  of  the  court 
and  the  literary  world,  Chaucer,  in  his 
seventy-first  year,  occupied  no  loftier  posi- 
tion than  Clerk  of  the  Royal  Works  in 
the  palaces  of  Windsor  and  Westminster, 
and  that  when  he  came  to  live  in  London 

203 


Westminster  Ahhey 

in  1399,  he  tookj  a  lease  of  a  small  tene- 
ment abutting  on  the  Lady  chapel  of  the 
Abbey  and  here  died  almost  alone  and 
unthought  of.  The  lease  of  the  house 
still  exists.  It  was  made  out  for  fifty- 
three  years,  "or  less  if  he  died  sooner," 
and  he  lived  only  ten  months  thereafter, 
dying  in  October  of  1400.  At  the  last,  in 
his  great  anguish,  he  is  said  to  have 
repeated  the  words  of  his  own  "Good 
Counsel,"  closing  with  the  lines: 

"Here  is  not  home,  here  is  but  wilderness, 
Forth,  pilgrim:  forth,  O  beast,  out  of  thy  stall! 
Look  up  on  high  and  thank  the  God  of  all, 
Control  thy  lust ;  and  let  thy  spirit  thee  lead ; 
And  Truth  thee  shall  deliver:  'tis  no  dread." 

The  lines  may  have  been  inspired  by 
the  loneliness  of  these  last  months.  The 
Westminster  Precincts  were  not  then  as 
now,  crowded  upon  by  the  hurrying  Lon- 
don throngs.  Monks  were  living  com- 
fortably in  St.  Peter's  monastery  and  ex- 
pected the  church  to  stand  as  it  then  stood, 
the  choirs  to  sing  their  masses,  prayers  to 
be  said  and  candles  to  burn  at  the  many 
altars  for  the  souls  of  the  dead,  "perpetu- 
ally," according  to  the  terms  of  the  vari- 
ous wills  of  the  period. 

In  his  official  capacity,  Chaucer  would 
constantly  be  passing  in  and  out  of  the 
Abbey,  a  familiar  figure  to  Abbot  Col- 
chester and  his  monks.     Within  the  old 

204 


The  South  Transept  (Continued) 

cloister  garth  today,  on  a  fine  May  morn- 
ing, many  pink  daisies  of  England  are 
upspringing  to  delight  the  heart.  The 
daisy  was  Chaucer's  favourite  flower,  and 
one  likes  to  think  that  in  that  last  spring- 
time of  his  life,  while  monks  and  novices 
were  pacing  along  these  old  stone  walks, 
or  while  the  sounds  of  the  Te  Deum  and 
the  Dona  Nobis  were  sweetening  the  air, 
the  old  poet  may  have  come  often  to  the 
cloister 

"To  see  this  flower  against  the  sunrise  spread 

That  blissful  sight  softeneth  all  my  sorrow. 
And  down  on  knees  anon  right  I  me  set, 
And  as  I  could,  this  freshe  flower  I  grette, 
Kneeling  always  till  it  unclosed  was 
Upon  the  small  and  soft  and  sweete  gras." 

The  poet  was  buried  in  the  Abbey  either 
on  account  of  his  official  position  or  else 
because  it  was  conveniently  near  the  place 
where  he  died.  The  only  memorial  that 
existed  of  him  for  many  years  was  a  tablet 
of  lead,  briefly  inscribed  and  hung  on  a 
pillar,  through  the  kindness,  it  is  said,  of 
Caxton,  who  printed  some  of  Chaucer's 
works.  But  in  the  time  of  Edward  VI, 
c.  1555,  Nicholas  Brigham,  an  Oxford 
man  and  a  great  admirer  of  Chaucer's 
poems,  himself  a  poet  of  some  ability, 
caused  this  beautiful  Gothic  tomb  to  be 
erected  and  the  poet's  body  removed  to  it. 
Later,  the  original  stone  that  had  covered 
205 


Westminster  Abhey 

his  grave  was  cut  up  to  repair  the  pave- 
ment. 

The  old  worn  grey  altar  tomb  with 
canopy  is  now  thought  to  have  been 
wrought  by  Nicholas  Stone,  a  famous 
statuary  in  his  day,  the  maker  of  many 
beautiful  monuments,  and  that  it  was  not 
made  for  Chaucer,  but  bought  from  some 
of  the  city  churches  dismantled  at  this 
time.  The  beautiful  wall  arcade  was  cru- 
elly mutilated  to  make  room  for  it.  The 
tomb  has  traceried  sides,  a  flat  arcaded 
canopy  of  four  arches  and  at  the  foot  an 
altar  place  where  a  chantry  priest  might 
offer  prayers  for  the  dead.  A  full  length 
portrait,  taken  from  the  beautiful  minia- 
ture in  Occleve's  De  Regimine  Principium, 
the  best  and  probably  the  only  genuine 
portrait  that  remains  to  us,  was  once 
painted  on  the  wall  at  the  back  of  the 
tomb  but  this  has  long  since  disappeared. 
An  inscription  in  gilt  letters  can  be  traced 
with  some  difficulty,  the  last  words  being, 
"Aerumnariim  requies  mors.''  Much  that 
is  beautiful  still  remains  of  the  old  tomb, 
the  tracery  and  arms  in  the  base,  the 
twisted  pendants,  the  crocketted  arches, 
the  panelling,  the  rose  decorations  of  the 
canopy,  and  the  reticulated  pattern  on  the 
small  columns.  The  panels  end  very 
abruptly  and   are  not   alike   on   the  two 

206 


The  South  Transept  (Continued) 

sides.     On  the  south  of  the  central  panel 
was  a  second  figure. 

Chaucer  was  comely,  says  Occleve,  with 
a  broad  forehead,  small  eyes  ever  looking 
down  and  a  temper  at  once  gay,  modest 
and  grave. 

"His  inkhorn  at  his  side  he  wore 
And  in  his  hand  he  bore  a  book, 
Thus  did  the  ancient  poet  look." 

A  modern  memorial  window  to  the 
poet,  directly  over  his  tomb  contains  six 
medallions  set  in  pattern  work,  the  sub- 
jects including  The  Canterbury  Pilgrims: 
Chaucer,  with  others,  receiving  a  commis- 
sion in  Genoa,  in  1372,  and  their  reception 
by  the  Doge:  and  in  the  two  upper  com- 
partments. The  Lady  of  the  Leafe,  in 
white  robes  with  her  attendants:  and  The 
Lady  of  the  Flower  in  green.  In  the  tra- 
cery appear  the  portraits  of  the  poet,  Ed- 
ward III  and  his  queen:  Gower  and  John 
of  Gaunt :  Wickliffe  and  Strode. 

Side  by  side,  in  the  pavement  at  the  foot 
of  Chaucer's  monument  are  fittingly  placed 
the  graves  of  Browning  and  of  Tennyson. 
When  Chaucer  was  buried  here,  there  was 
scarcely  a  tomb  to  dispute  his  right  to  the 
entire  aisle  :  but  when  these  two  later  great 
poets  died  the  aisle  was  so  thronged  that 
their  graves  had  to  be  cut  out  of  the  solid 
rock. 

207 


Westminster  Ahheij 

A  curious  red  porphyry  slab  is  in- 
scribed with  the  name  and  the  date  of 
Browning's  death  at  Venice,  December 
12,  1889.  He  had  desired  to  be  buried 
in  the  place  of  his  death:  "If  in 
Italy,  with  his  wife :  in  England,  with  his 
mother:  in  France,  with  his  father."  But 
in  Florence,  where  his  wife  rests,  no  more 
interments  in  the  English  cemetery  were 
allowed.  Venice  begged  that  he  might 
remain  with  her,  but  while  a  final  effort 
was  being  made  for  a  grave  at  Florence,  a 
message  came  from  the  Dean  of  West- 
minster offering  interment  in  the  Abbey. 
A  private  service  was  held  at  Venice. 
The  Abbey  was  filled  with  sincere  mourn- 
ers. With  the  great  and  noble,  many  of 
them  young,  who  honoured  themselves  in 
showing  honour  to  this  Christian  poet  and 
philosopher,  came  many  humble  friends, 
including  some  Lambeth  artisans  and 
working-women,  who  threw  laurel  sprays 
before  the  hearse.  At  the  centennial 
celebration  of  his  birth  in  1912,  repre- 
sentatives of  Browning  societies  from  vari- 
ous countries,  including  America,  visited 
the  Poets'  Corner  with  their  floral  offer- 
ings to  mark  their  remembrance  of  one 
whose  noble  lines,  rich  in  spirituality,  have 
cheered  and  strengthened  thousands  of 
human  hearts.  Mrs.  Browning's  poem, 
208 


The  South  Transept  (Continued) 

"What  Would  We  Give  to  Our  Beloved," 
was  sung  at  the  funeral. 

Tennyson  (d»  1892),  "one  of  the  light- 
bearers  of  the  world,"  has  his  grave  in 
the  pavement  close  by  that  of  Browning, 
his  slab  simply  inscribed  with  his  name 
and  dates.  The  story  of  the  last  hours 
of  his  hfe  is  so  typical  of  the  beautiful 
spirit  of  this  wonderful  master  of  poetry, 
and  is  so  fittingly  told  by  his  son,  that  no 
apology  is  needed  for  inserting  it  here: 
"He  tried  to  read  from  his  favourite 
*Cymbeline,'  but  could  not,  and  exclaimed, 
'I  have  opened  It,'  possibly  referring  to 
one  of  his  last  poems  of  which  he  was 
fond: 

'Fear  not  thou   the  hidden  p^yrpose   of  the   Power 

which  alone  is  great, 
Nor  the  myriad  world,  His  shadow,  and  the  silent 

Opener   of  the  Gate.' 

"He  then  spoke  his  last  words,  a  fare- 
well blessing  to  my  mother  and  myself. 
For  the  next  hours,  the  full  moon  flooded 
the  room  and  the  quiet  landscape  outside 
with  light :  and  we  watched  in  solemn  still- 
ness. He  was  quite  restful,  and  as  he 
was  passing  away,  I  spoke  over  him  his 
own  prayer,  'God  accept  him,  Christ  re- 
ceive him,'  because  I  knew  he  would  have 
wished  it.  .  .  .  We  placed  'Cymbeline' 
with  him,  and  a  laurel  wreath  from  Vir- 
gil's tomb  ajid  wreaths  of  roses,  the  flower 

209 


Westminster  Abbey 

which  he  loved  above  all  other  flowers, 
and  some  of  his  Alexandrinian  laurel,  the 
poets'  laurel,  A  carriage  belonging  to  the 
family,  made  beautiful  with  moss  and  scar- 
let cardinal  flower,  draped  with  the  pall 
woven  by  working-women  of  the  North 
and  embroidered  by  the  cottagers  of  Kes- 
wick, bore  him  away.  We  covered  him 
with  the  wreaths  and  crosses  of  flowers 
sent  from  all  parts  of  Great  Britain.  A 
faithful  coachman,  over  thirty  years  in 
the  family,  led  the  horse,  while  the  family, 
villagers  and  school  children  followed  by 
sunset  and  starlight." 

In  deference  to  the  poet's  dislike  of 
plumes  and  mourning  trappings,  the  body 
was  removed  from  Waterloo  station  in  a 
plain  carriage,  was  covered  over  with  the 
Union  Jack,  and  rested  for  the  night  in 
the  chapel  of  St.  Faith.  The  funeral  was 
at  noon  the  next  day.  Among  the  pall- 
bearers were  Lord  Roseberry,  Lord  Salis- 
bury, Principal  Jowett  of  Balliol,  Lecky, 
Froude  and  Lowell,  then  United  States 
Minister.  A  great  throng  of  sincere 
mourners  filled  the  Abbey.  The  nave 
was  lined  by  men  from  the  Balaclava 
Light  Brigade,  whose  exploits  the  poet 
had  Immortalized  In  his  poem,  "Half  a 
league,  half  a  league,  half  a  league  on- 
ward,"   and  by  boys    from   the   Gordon 

210 


The  South  Transept  (Continued) 

Home.  The  poet's  own  beautiful  hymns 
were  sung,  "Crossing  the  Bar"  and 
"Silent  Voices,"  the  melody  of  one  writ- 
ten by  Lady  Tennyson  at  the  poet's  special 
request:  and  at  the  conclusion  of  the  ser- 
vice, his  favourite  hymn,  "Holy,  Holy, 
Holy." 

"Next  to  Robert  Browning,  and  in 
front  of  Chaucer's  monument,  my  father 
was  laid:  and  for  weeks  after  the  funeral 
multitudes  passed  by  the  new-made  grave 
in  a  never-ceasing  procession."  Against  a 
pillar  by  the  grave  has  been  placed  the 
well-known  bust  of  the  poet  executed  in 
1857. 

There  is  a  monument  to  the  kindly 
poet,  Abraham  Cowley  (d.  1667),  just 
beyond  that  of  Chaucer,  described  in  his 
epitaph  by  his  biographer.  Dean  Sprat,  as 
"the  Pindar,  Horace  and  Virgil  of  Eng- 
land." A  tall  brown  stone  pedestal  is 
crowned  by  an  urn  wreathed  with  laurel, 
and  the  fire  proceeding  from  the  urn  is 
supposed  to  represent  "the  glory  ac- 
quired by  his  writings."  The  inventor  of 
the  Pindaric  Ode,  immortalized  by  Grey 
and  Dryden,  Cowley  was  ever  a  child  at 
heart  and  his  mind  was  much  "in  books 
and  bowers  and  the  sequestered  places  of 
thought."  To  the  last  he  lamented  that 
he  had  not  realized  the  people  he  found 
211 


Westmmster  Abbey 

there.  Evelyn  wrote  In  his  Diary:  "Went 
to  the  funeral  of  Mr.  Cowley  .  .  .  that 
incomparable  poet  and  virtuous  man,  my 
very  deare  friend,  whose  corpse  .  .  . 
was  conveyed  to  Westminster  Abbey  in  a 
hearse  with  six  horses  and  all  funeral 
decency,  neere  an  hundred  coaches  of 
noblemen  and  persons  of  quality  follow- 
ing." He  had  been  chaplain  to  Queen 
Henrietta  Maria;  and  her  son,  Charles  II, 
observed  that  Mr.  Cowley  had  not  left  a 
better  man  in  England.  He  was  buried 
near  Spenser,  whose  "Faery  Queen"  he 
had  read  before  he  was  twelve  years  old 
and  which  "filled  his  head  with  such 
chimes  of  verses  as  never  since  left  ringing 
there." 

A  white  marble  bust  of  the  poet  Long- 
fellow stands  against  a  pillar  at  the  north 
end  of  this  bay,  on  a  grey  marble  pedestal. 
It  was  erected  in  1884  and  bears  the  in- 
scription: "This  bust  was  placed  among 
the  memorials  of  the  poets  of  England  by 
the  English  admirers  of  an  American 
poet."  Flowers  are  often  left  by  the 
monument,  sometimes  in  the  lapel  of  the 
coat,  by  the  loving  hands  of  compatriots. 
The  face  is  a  beautiful  and  faithful  por- 
trait. Dickens  wrote  concerning  Long- 
fellow's visit  to  London:  "Nothing  can 
surpass   the    respect  paid  to   Longfellow 

212 


The  South  Transept  (Continued) 

here.  He  is  everywhere  received  and 
courted  and  finds  the  workingmen  at 
least  as  well  acquainted  with  his  books  as 
the  classes  socially  above  them." 

Dryden  (d.  1700),  Poet  Laureate  to 
Charles  II  and  James  II,  has  a  bust  on  a 
lofty  marble  pedestal  in  the  northmost  bay 
of  this  aisle,  replacing  an  earlier  monu- 
ment. The  face  is  delicate  and  thought- 
ful, sweet  and  serene.  He  died  in  Ger- 
ard street,  Soho,  "severely  harassed  by 
poverty."  He  was  a  pupil  of  the  famous 
Dr.  Busby  at  Westminster  School:  his 
reputation  as  a  poet,  in  his  own  day,  is 
said  to  have  equalled  Spenser's  contempor- 
ary fame. 

Francis  Beaumont,  the  dramatic  poet 
(d.  1618),  so  much  of  whose  work  was 
written  in  conjunction  with  Fletcher  that 
the  two  are  almost  Invariably  named  to- 
gether. Is  buried  in  this  aisle  with  his 
brother.  Sir  John  Beaumont  (d.  1627). 
He  Is  said  to  have  died  of  overwork:  "so 
dearly  hast  thou  bought  thy  precious 
lines."  He  lived  In  Southwark  and  has  a 
memorial  window  to  his  memory  In  its 
cathedral. 

Three  once  famous  men,  headmasters 

of  Westminster  School  are  buried  near  the 

west  bay  of  the  Sanctuary  at  the  north  of 

this  aisle:  Dr.  Busby  (d.  1695),  ^  severe 

213 


Westminster  Abheij 

but  excellent  headmaster  and  a  prebendary 
of  Westminster,  the  remembrance  of  whose 
stern  discipline  Isl  said  to  have  caused  his 
old  scholars  to  turn  pale  when  they  ap- 
proached the  lofty  monument  on  which  his 
effigy  reclines:*  Dr.  Robert  South  (d. 
17 16),  a  pupil  of  Busby  also  a  prebendary 
of  Westminster  and  headmaster  of  the 
School,  and  Dr.  William  Vincent  (d. 
18 15),  pupil,  headmaster,  and  later  Dean 
of  Westminster;  but  the  latter  has  no  mon- 
ument. 

The  Chapel  of  St.  Faith,  or  the  Re- 
vestry,  opening  from  the  south  wall  of 
this  transept  by  an  old  panelled  door, 
was  originally  used  as  a  vestry  or  rob- 
ing-room,  probably  for  those  officiating 
at  special  functions,  such  as  the  conse- 
cration of  priests.  It  is  now  open 
throughout  the  day  for  private  devotions 
and  is  also  used  for  early  services.  In 
such  vestries  It  was  customary  to  conse- 
crate an  altar  where  prayers  might  be  said 
while  a  prelate  was  being  solemnly  vested 
before  some  Important  service  in  the 
church  beyond  and  where  occasionally  mass 
was  said.     The  revestry  of  Westminster 

*Addison  makes  Sir  Roger  de  Coverly  exclaim 
before  this  monument :  "Dr.  Busby ! — a  great  man. 
He  whipped  my  grandfather!  A  very  great  man! 
I  should  have  gone  to  him  myself  if  I  had  not 
been  a  blockhead.     A  very  great  man !" 

214 


The  South  Transept  (Continued) 

Abbey  Is  usually  called  by  the  name  of  the 
altar  consecrated,  at  the  east  end,  to  St. 
Faith,  and  has  been  used  for  various  pur- 
poses besides  that  of  a  robing-room. 
While  the  Abbey  was  undergoing  re- 
arrangement necessary  before  the  corona- 
tion of  Edward  VII  and  of  George  V,  no 
use  of  the  church  for  religious  services  be- 
ing possible  for  several  weeks,  morning 
prayers  were  read  in  this  quaint  Early 
English  chapel  of  the  little  maiden  saint, 
to  which  access  was  then  obtained  from 
the  chapter  house  vestibule.  Here,  the 
night  before  his  burial  In  the  Poets'  Cor- 
ner, the  body  of  Tennyson  rested.  Here, 
in  1873,  as  a  tablet  on  the  wall  indicates, 
the  body  of  Bishop  Mcllvaine  of  Ohio, 
who  died  at  Florence,  rested  during  Eas- 
ter week  and  was  then  removed  to 
America. 

Though  an  intimate  and  structural  part 
of  the  church  itself,  forming  a  southern 
aisle  of  the  south  transept,  and  a  part  of 
Henry  Ill's  building,  the  small,  plain, 
quiet  old  stone  chamber  appears  to  have 
an  atmosphere  of  its  own,  quite  apart  from 
the  splendid  memories  and  monuments  of 
the  great  church,  and  to  those  who  come 
here  often  for  its  unpretending  services  or 
for  private  devotion,  St.  Faith's  becomes  a 
beautiful  chamber  of  peace. 

215 


Westminster  Abbey 

It  lies  parallel  with  the  vestibule  of 
the  chapter  house  in  the  east  cloister, 
into  which  it  has  a\  doorway  in  the  south 
wall.  In  the  west  wall,  at  the  triforium 
level,  there  Is  a  stone  passage,  or  rather 
an  open  gallery,  running  above  the  east 
cloister,  communicating  with  the  old  dor- 
mitory of  the  monks  by  way  of  a  stone 
bridge,  seen  on  the  exterior  from  the  clois- 
ter, and  a  small  stone  stairway  leads  from 
the  triforium  level  down  Into  the  south 
transept  through  a  small  door,  now  hidden 
from  view  on  the  transept  side  by  the  Duke 
of  Argyll's  monument.  This  formed  the 
monks'  night  entrance  to  the  church. 

St.  Faith,  to  whom  the  altar  was  dedi- 
cated, was  a  maiden  martyr  of  Aquitalne, 
only  thirteen  years  of  age,  living  In  the 
third  century,  who,  refusing  to  sacrifice  to 
the  gods  at  the  command  of  the  Emperor 
Declus,  was  cruelly  beaten  with  rods,  cast 
on  a  brazen  bed  of  flame  and  finally  be- 
headed. While  she  was  undergoing  tor- 
ture, her  good  bishop,  Caprasius,  who  had 
fled  to  the  mountains  with  a  little  band  of 
Christians,  had  a  vision  of  the  little  saint  in 
heaven,  wearing  a  crown  of  glittering 
stones,  and  saw  a  dove  descending  and  rest- 
ing on  the  child's  head,  while  a  dew  falling 
from  Its  wings  quenched  the  flames.  Her 
sweet  courage  and  constancy  brought  many 
216 


The  South  Transept  (Continued) 

to  Aquitalne  to  confess  Christ.  There 
was  a  chapel  to  St.  Faith  in  the  old  crypt  of 
St.  Paul's.  She  is  usually  represented 
crowned  and  bearing  the  brazen  bed  or 
gridiron  of  her  torture  and  a  rod  or  a 
book. 

St.  Faith's  altar  at  the  east  end  of  the 
chapel  has  long  since  been  destroyed,  as 
were  all  the  stone  altars  within  the  church, 
but  the  altar  steps  remain.  Particular 
interest  attaches  to  the  painting  on  the 
wall  over  the  modern  altar,  though  it  is 
now  so  faint  that  its  outlines  can  only  be 
traced  when  the  afternoon  light  is  strong 
upon  it.  The  painting  is  an  early  example 
of  distemper  or  tempera  painting  and  con- 
sists of  a  beautiful  figure  of  St.  Faith  under 
a  pointed  arch,  a  Crucifixion  below  and  on 
the  north  side  the  demi-figure  of  a  sacrist, 
perhaps  the  donor  of  the  picture,  or  a  pen- 
itent, praying  to  the  saint  with  his  hands 
outstretched.  The  soffit  of  the  pointed 
stone  arch  in  which  the  figure  is  set  is 
painted  with  broad  chevron  or  zig-zag  pat- 
tern in  red  and  white,  a  reminiscence  of 
Norman  work  not  often  seen  at  so  late  a 
date  and  somewhat  suggestive  of  an  archi- 
tectural history  as  yet  unrevealed. 

Within  the  stone  arch  stands  the  tall, 
slender  figure  of  a  girl,  crowned,  wearing 
long  draped  robes,  bearing  in  one  hand  a 

217 


Westminster  Ahhey 

book,  in  the  other,  displayed,  an  Iron  bed 
or  gridiron.  Her  feet  rest  on  the  carved 
capital  of  a  painted  column.  A  broad 
painted  border  runs  at  the  base  of  the  fig- 
ure containing  two  large  eight-pointed 
stars:  and  in  the  central  compartment  of 
this  border,  directly  below  the  figure  of  the 
saint,  there  Is  a  Crucifixion  with  the  Virgin 
and  St.  John.  To  the  left  within  a 
star-shaped  figure  in  the  soffit  of  the 
stone  arch  and  on  a  black  ground,  ap- 
pears the  demi-figure  of  a  monk,  his  hands 
upraised  in  prayer  to  the  saint  as  beseech- 
ing her  good  offices.  The  lines  of  his 
prayer  are  painted  on  the  wall  between 
his  figure  and  that  of  the  saint:  Me  quern 
culpa  gravis  premh,  erjge,  Virgo,  salutis, 
Fac  mihi  placatam  Christum,  deleasqiie 
reatum.  (O  Virgin,  lift  thou  me  up  whom 
heavy  sin  oppresses:  reconcile  Christ  to 
me  and  wash  away  my  guilt.) 

The  painting  is  of  much  interest  as  an 
early  example  of  distemper  work  and 
resembles  the  mural  decoration  in  the 
nave  at  St.  Albans,  also  that  at  Canterbury, 
at  Winchester,  and  in  the  transept  chapel 
at  Ely.  Mr.  Lethaby  calls  it  "the  most 
remarkable  early  Gothic  wall  painting 
now  remaining  to  us";  It  is,  however,  but 
a  single  figure  while  as  much  and  more  re- 
mains, for  example,  in  the  Early  English 
218 


St.  Faith 

From  a  wood  cut  in  the  Gentleman's  Magazine,   1821. 


The  South  Transept  ( Continued  J 

chapel  of  the  Holy  Sepulchre  at  Winches- 
ter, the  paintings  covering  the  entire  wall 
and  almost  as  fresh  as  when  executed. 
The  painted  arch  above  this  figure  is 
crocketted,  and  the  colums  are  decorated 
with  tabernacle  work. 

The  figure  of  the  saint  is  peculiarly 
delicate  and  pleasing;  the  draperies,  grace- 
ful, the  pose  excellent,  and  the  face  and 
hands  of  much  beauty.  So,  also,  in  the 
Crucifixion  below,  the  figure  of  Our  Lord 
is  peculiarly  effective  in  its  pathetic  droop- 
ing and  that  of  the  Virgin  with  one  hand 
upraised  as  in  sympathy  for  pain  which 
she  is  powerless  to  relieve,  and  of  St.  John, 
are  unusually  excellent,  though  all  are  now 
much  worn  away  from  long  exposure  even 
to  the  faint  light  of  this  dark  aisle. 

The  old  Tiling  about  the  altar  place 
is  a  choice  fragment  of  early  work,  but  is 
seen  with  difficulty,  being  worn  away  by 
the  feet  of  those  who  have  ministered  at 
this  altar.  Among  the  designs  on  the 
tiles  may  be  traced  a  fleur-de-lis  and  a 
rosette.  Various  shades  of  yellow  are 
freely  employed.  A  piscina,  and  an  aum- 
brey  perhaps  for  some  rich  vestment  worn 
by  a  ministering  priest  or  else  some  treas- 
ure of  the  altar,  remain  in  the  east  bay. 

The  chapel  consists  of  three  vaulted 
bays  of  ruder  workmanship  than  any  other 

219 


Westminster  Abhey 

part  of  the  church  we  have  seen.  Two 
lofty  two-light  windows  in  the  eastern  bay 
of  the  south  wall  look  into  the  chapter 
house;  vestibule,  to  which  they  furnish  an 
impaired  supply  of  their  own  dim  light. 
An  irregular  arcade  on  the  north  and 
south  walls  shows  little  richness,  and  every- 
where the  architecture  suggests  that  no 
very  exalted  use  was  intended.  The  east- 
most  arch  on  the  south  wall  is  pierced  by 
the  low  doorway  which  gives  access  to  the 
chapter  house  vestibule.  The  low  central 
arch  and  the  larger  one  beyond  rest  on  a 
stone  bench  and  are  at  present  filled  with 
book-cases.  In  the  west  bay,  a  deeply 
splayed,  single  light  window  admits  the 
best  light  which  the  chapel  receives. 

The  arcade  on  the  north  wall  is  richer 
than  that  on  the  south,  and  consists  of 
three  irregular  connected  arches,  the  cen- 
tral one  pierced  by  the  door  into  the  south 
transept.  Conventional  foliage  designs 
appear  in  some  of  the  arcade  mouldings. 
In  the  north  wall,  high  up  in  the  central 
arch  over  the  door  is  a  smaller  door 
"hatch-size." 

The  heavy  vaulting  ribs  spring  irregu- 
larly from  strong  corbels  set  on  the  rough 
wall,  the  corbels  supported  by  great  stone 
heads  of  men  and  women:  one  is  an  Ab- 
bess,    one     is     laughing,     one     mocking. 

220 


The  South  Transept  (Continued) 

Those  on  the  north  wall  are  especially 
interesting.  The  bosses  consist  of  heavy 
masses  of  foliage  and  are  almost  the  only 
feature  of  the  chapel  suggesting  richness. 
At  the  west  end  of  the  chapel  is  seen 
the  low  stone  gallery  leading  on  to  the 
monks'  night-stairs:  and  an  old  rack  for 
copes  is  preserved  here. 


?2I 


CHAPTER  XI 
THE  AMBULATORY 

(Early  English,  1245-1269) 

The  eastern  portion  of  the  church  is  en- 
tered through  gates  to  the  north  and  south 
of  the  Sanctuary,  leading  directly  into  the 
broad,  handsome  rounded  aisle,  which  fol- 
lows the  outline  of  the  Sanctuary  and  the 
Confessor's  chapel  with  its  apse,  and  is 
called  the  Ambulatory  or  Procession  Path. 
Such  aisles  are  found  in  nearly  all  Nor- 
man churches  which  were  monastic,  and 
were  intended  for  the  use  of  stately  reli- 
gious processions.  They  were  particu- 
larly useful  where  the  shrine  of  some  noted 
saint  was  located  in  the  apse,  from  which 
relics  might  be  displayed  to  pilgrims  in 
the  aisle  beneath.  The  name  was  also 
applied  to  cloisters,  and  the  term  deambu- 
latory  used  for  a  place  where 

"Men  might  walk  together,  twain  and  twain, 
To  keep  them  dry  when  it  happed  to  rain." 

— Lydgate. 

Ambulatories  are  found  at  Canterbury, 
both  in  the  main  story  and  the  crypt,  both 
of  which  were  provided  with  chapels;  at 
Norwich,  which  still  preserves  its  Norman 

'^22 


The  Ambulatory 

choir;  at  Gloucester,  In  crypt,  main  story 
and  triforlum,  all  three  of  which  contained 
chapels  one  above  the  other  in  the  three 
stories;  and  in  numerous  lesser  churches. 
Today,  the  Westminster  ambulatory  seems 
to  exist  for  the  purpose  of  supplying  addi- 
tional space  for  monuments. 

In  plan,  the  ambulatory  follows  the 
outer  walls  of  the  apse  and  the  eastern 
bays,  and  is  of  ample  width  and  stone- 
vaulted.  From  it  radiate  in  fan-shape, 
five  chapels:  Henry  VIFs  at  the  east,  and 
two  on  the  north  and  two  on  the  south 
side,  the  shape  and  location  of  which  are 
best  understood  from  the  exterior  of  the 
church.  This  part  of  the  plan  is  distinctly 
French:  it  is  not  seen  elsewhere  in  Eng- 
land, at  least  in  a  church  of  this  date: 
but  is  very  usual  on  the  Continent.  With 
these  five  radiating  chapels  two  others  are 
usually  visited,  belonging  structurally  to 
the  north  and  the  south  transept  respec- 
tively, but  more  readily  accessible  from 
this  point  than  elsewhere. 

For  convenience,  the  entire  ambulatory 
is  best  studied  first,  while  the  chapels  may 
be  reserved  for  study  by  themselves.  In 
passing  on  from  bay  to  bay  of  the  ambu- 
latory, beautiful  views  and  many  arched 
vistas  delight  the  eye  on  either  side,  views 
which  include  chapels  and  tombs  and  the 

223 


Westminster  Ahhey 

stately  shrine  of  the  Confessor  with  its 
many  interesting  architectural  details,  and 
even  the  distant  vaults  of  the  north  and 
south  transept.  The  ambulatory  and 
chapels  are  seen  to  best  advantage  on  a 
bright  afternoon  when  sunshine  attempts 
to  reveal  their  dark  angles.  Few  names 
of  world-wide  importance  are  to  be  noted 
in  the  tombs  of  this  aisle,  but  the  outer 
sides  of  the  stately  tombs  of  the  kings  in 
the  Confessor's  chapel  are  well  studied 
from  this  point. 

Beginning  with  the  South  Walk  of  the 
Ambulatory,  the  first  monument,  on  the 
north  wall,  bears  a  very  old  name,  whether 
justly  or  not  is  a  question,  but  tradition  has 
always  pointed  to  the  arched  recess  over 
the  old  stone  coffin  in  the  north  wall  as 
the  tomb  of  Sebert,  the  first  Christian  king 
of  the  East  Saxons,  nephew  of  King  Ethel- 
bert,  the  Christian  king  of  Kent.  He  was 
converted  by  the  preaching  of  St.  Augus- 
tine: came  to  his  throne  in  600  and  died 
in  616.  Tradition  also  says  that  he 
founded  a  church  to  St.  Peter,  the  original 
of  Westminster  Abbey,  on  Thorney  Isle, 
but  of  this  there  is  no  proof  whatever. 
The  inscription  on  his  leaden  coffin  de- 
scribes him  as  a  king  "humble,  gentle, 
learned  and  pious,  who  sought  to  serve 
Christ  by  making  himself  perfect  ...  a 
224 


The  Ambulatory 

true  worshipper  of  Christ  in  this  world, 
who  now  rejoices  in  the  reward  of  a 
heavenly  crown." 

The  present  tomb  is  one  of  the  earliest 
in  the  Abbey  proper  (though  older  ones 
are  found  in  the  cloister),  and  was 
probably  made  in  1308.  The  King  was 
first  buried  in  the  church,  says  the 
tradition,  but  during  the  rebuilding  by 
Henry  III,  the  body  was  removed  to  the 
cloister  and  on  the  completion  of  the 
choir  was  reverently  brought  back  to  its 
original  home  by  the  monks  in  solemn  pro- 
cession. Only  the  stone  portion  of  what 
appears  to  be  the  tomb  belongs  to  it: 
above,  for  convenience,  rests  the  old 
wooden  sedilia  of  the  choir. 

The  tomb  consists  of  a  stone  coffin  or 
chest  containing  the  body,  and  is  covered 
over  by  a  polished  Purbeck  slab  placed 
under  a  low,  moulded  arched  recess  of  the 
fourteenth  century  filled  in  with  tracery. 
The  mouldings  of  the  recess  were  once 
coloured  and  gilt.  A  trailing  vine  painted 
in  dark  colour  on  a  white  ground,  decor- 
ated the  soffit  of  the  arch:  at  the  east  end 
of  the  recess  are  traces  of  a  crowned 
figure  painted  on  the  wall,  perhaps  Sebert: 
and  at  the  foot  another  figure,  which, 
from  the  remains  of  a  wheel,^  was  prob- 
ably that  of  St.  Catherine  with  the  emblem 

225 


Westminster  Ahhey 

of  her  torture.  The  tracery  at  the  back 
of  the  recess  must  have  been  a  later  addi- 
tion, since  the  central  quatrefoil  contains 
the  rose  in  splendour,  the  device  of  Ed- 
ward IV.  In  the  same  grave  with  Sebert, 
tradition  says,  were  buried  his  wife,  Ethel- 
goda  (d.  615),  and  his  sister,  Ricula.  An 
engraving  from  an  imaginary  portrait  of 
Sebert  copied  from  this  tomb  is  in  Schneb- 
belli's  Antiquaries  Museum. 

Eight  royal  children  are  remembered 
by  a  monument  under  a  low  arched  recess 
on  the  south  side  of  this  aisle,  beyond  the 
chapel  of  St.  Benedict,  four  children  of 
Henry  III  and  four  of  his  grandchildren, 
children  of  Edward  I.  Of  Henry  Ill's 
children  were  Princess  Katherlne,  the 
beautiful  little  dumb  daughter,  who  died 
in  1257,  being  only  five  years  of  age,  of 
whom  Matthew  Paris  rather  harshly  says 
that  she  was  fit  for  nothing  on  account  of 
her  infirmity,  but  that  she  was  greatly 
beloved  by  her  parents  and  especially  by 
the  King,  and  that  both  were  greatly 
grieved  by  her  death;  the  Queen  fretted 
herself  Into  a  fever,  "and  could  obtain  no 
relief  from  medical  skill  or  human  conso- 
lation." An  Infant  daughter,  and  two 
little  princes,  Richard  and  John,  were  also 
burled  in  the  Abbey  and  here  remembered. 

Edward  I's  children  burled  here  were 

226 


The  Amhulatory 

Prince  John  Henry,  born  at  Windsor  in 
1265,  eldest  child  of  Eleanor,  and 
named  for  his  great-grandfather.  King 
John,  and  his  grandfather,  Henry  III : 
Prince  Alphonso,  the  third  son,  named 
for  the  King  of  Castile,  his  mother's 
brother;  and  the  Princess  Berengaria, 
and  the  Princess  Alice,  the  fourth  and 
fifth  daughters  in  the  King's  large  fam- 
ily of  twelve  children.  Prince  John 
Henry  lived  to  be  seven  years  old,  was 
a  child  of  unusual  promise  and  would 
have  been  king  instead  of  his  brother, 
Edward  II,  had  he  lived.  His  death 
occurred  while  his  parents  were  in  Sicily, 
on  their  way  home  from  the  Holy  Land. 
Prince  Alphonso  lived  to  be  twelve  years 
of  age,  was  with  his  father  in  his  conquest 
of  Wales,  and  when  Llewellyn,  the  last 
native  prince,  was  slain,  the  boy  was  per- 
mitted to  offer  his  golden  coronet  and 
jewels  at  the  Confessor's  shrine,  where  the 
coronet  long  hung  on  one  of  the  pillars. 
He  was  born  while  his  parents  were 
returning  from  the  Holy  Land  and  soon 
after  they  had  heard  the  sad  tidings  of 
the  death  of  their  two  eldest  sons  and  of 
the  King,   Henry  III. 

The  high,  small  altar  tomb  of  Purbeck 
has  a  low  pedestal  with  a  step  and  is  set 
against  the  aisle  in  a  low  recess  under  a 

227 


Westminster  Abhci; 

fine  trefoiled  arch,  the  sarcophagus  being 
half  imbedded  in  the  wall.  It  bears  many 
points  of  resemblance  to  the  Confessor's 
shrine  and  the  tomb  of  Henry  III,  is  dec- 
orated with  the  same  guilloche  pattern  and 
with  roundels  of  marble  and  mosaics  in 
gold,  white  and  brown  and  was  originally 
a  beautiful  little  tomb.  The  materials 
were  doubtless  the  same  as  those  used  in 
the  larger  tombs.  Henry  III  employed  a 
Dorsetshire  mason  for  the  stonework  but 
the  decorations  were  by  the  Italian  work- 
men brought  from  Rome  to  complete  the 
shrine,  pavement  and  King's  tomb.  The 
decorated  arch  of  the  recess,  once  painted 
and  gilt,  was  added  to  the  monument  by 
Edward  I,  and  the  painting  at  the  back 
of  the  recess,  now  but  imperfectly  seen, 
represented  several  children  kneeling,  and 
above  them  hung  a  silver  figure  of  St. 
Catherine,  the  patron  of  children.  There 
were  other  paintings  above  the  arch.  The 
figure  of  St.,  Catherine  was  of  wood  cov- 
ered with  silver  plates.  An  image  of 
brass  was  also  once  prepared  for  this 
tomb,  both  images  being  the  work  of  Will- 
iam of  Gloucester,  the  King's  goldsmith, 
who  received  seventy  marks  for  his  labour. 
Nearly  all  the  tesserae  of  the  mosaics  have 
been  picked  out  of  the  tomb. 

Standing  in  front  of  the  royal  children's 

228 


The  Amhulatonj 

tomb,  we  have  a  fine  view  of  the  rich  old 
glass  In  the  east  clerestory  windows  of  the 
apse. 

The  south  side  of  Richard  IFs  tomb  in 
the  Confessor's  chapel  is  very  well  seen 
from  the  ambulatory  (v.  Chap.  XIV.) 
The  inner  side  of  the  flat  wooden  canopy 
still  shows  much  of  the  original  interesting 
painting.  The  entire  surface  Is  divided 
into  four  compartments  the  ground  of 
which  was  once  gilded,  and  painted  with  a 
diaper  of  small  quatrefoils.  In  each  of 
the  outer  compartments  is  an  angel  sup- 
porting a  shield  of  arms.  Of  the  other 
two  compartments,  the  westmost  contains 
an  early  and  very  Interesting  representa- 
tion of  the  Trinity,  the  Father  within  an 
aureole,  seated  on  a  throne,  his  hand  in 
benediction:  the  eastmost,  a  Coronation  of 
the  Virgin,  the  latter  kneeling  before  her 
son  and  receiving  her  diadem  as  Queen  of 
Heaven.  Old  records  show  that  the 
painting  cost  £20.  For  many  years  there 
was  an  aperture  In  the  side  of  the  tomb 
next  to  the  ambulatory  through  which  cur- 
ious visitors  removed  the  bones  of  the 
King  and  Queen:  and  In  1766,  a  West- 
minster School  boy  had  the  jawbone  in  his 
possession.  The  tomb  was  opened  by 
Dean  Stanley  and  the  skeleton  revealed 
was  fully  six  feet  tall. 

229 


Westminster-  Abbey 

A  splendid  Gothic  tomb  of  the  third 
Edward  is  a  conspicuous  and  interesting 
feature  of  the  ambulatory  at  this  point, 
but  the  effigy  is  much  better  seen  from 
within  the  Confessor's  chapel.  The  carved 
wood  canopy  with  the  rich  crocketted 
arcade  rises  high  above  the  tomb  and  thus 
reveals  the  effigy.  Of  peculiar  interest  are 
the  "weepers,"  the  contemporary  figures  in 
brass  of  the  King's  children,  each  under  an 
arch  of  the  small  arcade  at  the  sides  of  the 
tomb.  Of  the  twelve  original  figures,  only 
six  remain  and  these  are  all  on  this  south 
side  of  the  tomb.  The  Black  Prince,  the 
oldest  son,  and  heir  to  the  throne  which  he 
did  not  live  to  occupy,  stands  first  to  the 
west  or  left,  having  a  long  mantle  cut  in 
leaves  at  the  border,  short  hair  and 
pointed  beard:  then,  in  order,  the  Princess 
Joan  of  the  Tower,  the  second  daughter, 
who  has  long  graceful  drapery,  long 
sleeves  reaching  nearly  to  the  foot  of  her 
robe,  buttoned  bodice,  and  a  stiff  rich  head- 
dress: Lionel,  Duke  of  Clarence,  the  third 
son,  wearing  his  beard  in  two  points  (like 
that  of  his  nephew,  Richard  II,  In  the 
tomb  just  beyond),  buttoned  coat,  rich  belt 
and  his  mantle  thrown  over  the  left 
shoulder;  Edmund,  Duke  of  York,  the 
mantle  fastened  on  the  left  shoulder  with 
two  large  buttons,  one  arm  wholly  folded 

230 


The  Ambulatory 

in  the  robe,  which  has  a  delicate  border; 
Mary,  Duchess  of  Brittany,  in  a  pleated 
robe,  buttoned  bodice  with  basques,  and 
with  hands  stiffly  folded,  and  William  of 
Hatfield,  who  died  an  infant  and  is  buried 
at  York  minster.  His  eyes  are  closed  as 
in  death,  but  one  hand  clasps  a  rich  sword 
belt;  the  coat  sleeves  are  buttoned  up  to 
the  elbow.  When  the  late  afternoon  sun- 
shine strikes  these  figures  of  centuries-old 
royal  children,  their  small  brass  faces  are 
well  seen.  The  costumes  are  of  much 
interest. 

Six  small  shields  of  arms  appear  at  the 
foot  of  the  row  of  figures:  that  of  the 
Black  Prince  bears  the  fleur-de-lis  of 
France  and  the  lions  of  England:  that  of 
Lionel,  the  same :  the  shield  of  Edmund 
has  been  torn  away:  that  of  Mary  of 
Brittany  bears  the  fleur-de-lis  and  fourteen 
water  bougets:  and  Joan's  shield  has  a 
tower  (she  was  born  in  the  Tower),  fleur- 
de-lis  and  a  dragon.  Below,  in  the  tra- 
cery at  the  base  of  the  tomb,  are  four  other 
shields  set  within  quatrefoils,  enamelled  in 
red,  blue  and  gold,  two  bearing  the  lions 
and  fleur-de-lis,  and  two  the  red  cross. 

The  high  tomb  with  effigy  of  Philippa, 
Queen  of  Edward  III  (d.  1369)  lies 
beyond  that  of  the  King,  in  the  Confessor's 
chapel.     From  this  aisle  we  notice  the  rich 

231 


West7ninstcr  Abbey 

fragments  of  carved  alabaster  work:  the 
canopied  niches  once  containing  figures  of 
very  delicate  workmanship,  now  badly 
mutilated,  but  three  tiny  pedestals,  two 
small  alabaster  shields  and  as  many  deli- 
cate  quatrefoils   remain. 

The  entrance  porch  of  Henry  VII's 
chapel,  a  rich  and  stately  bay,  occupies  the 
eastern  point  of  the  ambulatory.  Over 
our  heads  as  we  stand  at  the  foot  of  the 
stairs  leading  up  to  the  chapel,  is  the  floor 
of  the  chantry  of  Henry  V,  containing  the 
tomb  of  his  Queen,  Katherine  pf  Valois, 
the  low  side  walls  of  the  chantry  being 
thickly  wrought  with  canopied  niches  con- 
taining groups  and  figures  and  many  her- 
aldic devices.  A  little  flight  of  stone  steps 
at  the  west  leads  up  to  the  Confessor's 
stately  chapel,  past  the  tomb  and  headless 
effigy  of  Henry  V.  There  is  a  second 
entrance  to  the  chapel  on  the  north. 

The  Clarendon  vault,  directly  in  front 
of  the  steps  to  Henry  VII's  chapel,  bears  an 
interesting  list  of  names  of  those  buried 
beneath.  Here  are  the  great  Earl  of 
Clarendon  (d.  1675),  the  historian  of  the 
Restoration,  whose  history  ends  with  his 
death  in  exile  at  Rouen :  the  Earl's  moth- 
er (d.  1661)  :  his  second  wife:  his  three 
sons:  and  his  grandson.  Lord  Cornbury 
(d.    1723).     Although    the    Earl's    two 

232 


The  Ambulatory 

granddaughters,  Mary  and  Anne,  were 
in  turn  queens  of  England  (their  mother 
being  Ann  Hyde,  married  to  the  second 
James  before  he  became  King),  yet  not 
even  a  Hne  of  inscription  marked  the  Earl's 
stone  until  the  time  of  Dean  Stanley. 

The  sculptured  figures  on  the  raised 
sides  of  Henry  V's  chantry  represent  cor- 
onation groups,  courtiers  and  heraldic 
devices  and  are  better  studied  in  connection 
with  the  chantry  itself. 

At  the  eastern  end  of  the  North  Ambu- 
latory, on  the  north  side,  is  the  tomb  of 
Louis  Robsart,  later  Lord  Bourchier 
(d.  1431),  and  his  wife,  Elizabeth,  whose 
name  is  familiar  in  that  of  his  grand-niece, 
Amy  Robsart,  of  Scott's  novel.  Lord 
Bourchier  was  the  second  son  of  Sir  Canon 
Robsart,  a  knight  of  Hainhault,  and  stand- 
ard-bearer to  Henry  V:  fought  nobly  at 
Agincourt  and  later  was  made  a  personal 
attendant  of  Henry's  Queen.  He  stood 
by  the  King  at  his  deathbed  in  France  and 
attended  his  funeral.  His  grave,  and  that 
of  his  wife,  through  whom  he  obtained  his 
title,  were  made  here  together.  In  order 
to  make  room  for  the  monument,  a  portion 
of  the  fine  stone  screen  of  the  chapel  was 
cut  away. 

The  monument  consists  of  an  altar  tomb 
of  stone  under  a  low  arched  canopy,  at 


Westminster  Abbey 

either  end  having  two  large  carved  stone 
banners  supported  by  a  lion  and  a  falcon. 
Robsart's  crest  in  stone,  a  Saracen's  head 
with  heavy  braided  locks  and  crowned  by 
a  Catherine  wheel,  is  placed  over  the  cen- 
tre of  the  arch  above  the  tomb.  The 
entire  monument  was  once  rich  with  colour 
and  gilt  and  was  considered  one  of  the 
most  remarkable  in  the  Abbey.  The 
screen  was  powdered  over  with  Catherine 
wheels  and  adorned  In  the  frieze  with 
numerous  shields  of  arms  alternating  with 
the  mottoes,  "Non  nobis  Domimis,  Non 
nobis,  de  Domini  tiio  da  gloriam,"  and 
"U  honneur  a  Dieti,  a  nous  merci."  Ten 
angels  with  golden  wings  once  sustained 
shields  of  arms  bearing  mottoes.  The 
double  tomb  was  made  wider  than  the 
screen  and  on  the  Inner  side  of  the  chapel 
an  ingenious  device  of  flying  buttresses 
skillfully  conceals  the  difference  In  width, 
and  the  lions  and  falcons  sustaining  the 
banners  at  either  end  are  arranged  to  form 
a  part  of  the  buttresses. 

A  lofty  monument  stands  beyond  St. 
Paul's  chapel  to  William  Pulteney,  Earl  of 
Bath  (d.  1764),  a  great  leader  of  the 
Opposition  against  the  powerful  Walpole, 
quick  of  wit,  of  lively  Imagination,  agree- 
able In  social  life,  and  a  strong,  persuasive 
and  pathetic  orator.     The  Countess,   his 

234 


The  Ambulatory 

wife,  was  described  by  Bishop  Newton  as 
wonderfully  agreeable  when  in  good  hu- 
mour: "but  often  clouded  or  overcast." 

The  tomb  of  Queen  Eleanor  (d.  1290), 
in  the  Confessor's  chapel,  displays  even 
more  of  its  beauty  from  this  aisle  than 
from  within  the  chapel.  Notice  the  grace- 
ful arcade  of  six  arches  enclosing  shields 
of  arms:  and  in  particular  the  famous 
grille  of  wrought  iron,  known  as  the 
Eleanor  Grille,  made  by  an  English  black- 
smith In  1293,  protecting  the  tomb  on  this 
side,  and  remarkably  well  preserved  for 
all  these  years.  It  Is  considered  a  notable 
example  of  thirteenth  century  ironwork 
and  is  often  imitated,  wholly  or  In  part, 
and  most  of  the  designs  are  familiar. 
There  is  a  copy  of  the  grille  in  the  Metro- 
politan Museum  of  New  York.  In  a 
strong  light,  traces  of  an  old  painting  on 
the  stone  base  of  the  tomb  may  be  made 
out,  showing  a  sepulchre  with  the  Virgin 
Mary:  an  armed  knight  at  the  head  and 
monks  at  the  foot. 

Beyond  the  Queen's  tomb,  in  the  chapel 
above,  is  that  of  her  father-in-law,  Henry 
III.  The  north  side  of  this  tomb  is  in 
much  better  preservation  than  the  chapel 
side.  Here  the  decorations  of  bright  red 
and  green  slabs  of  jasper  and  the  glit- 
tering mosaics  are  seen  in  a  good  light. 

235 


Westminster  Abbey 

The  flat  wooden  canopy,  similar  to  that 
of  Richard  II,  was,  like  that  once  painted 
on  its  under  side.  The  great  slab  of 
porphyry  on  the  tomb,  surrounded  by  pat- 
terns of  gold  and  coloured  stones,  is  nota- 
ble work,  the  mosaics  in  particular  being 
considered  by  experts  "the  summit  of  the 
mosaic  art.  Neither  Rome  nor  any  other 
city  of  Italy  has  another  panel  of  equal 
magnificence."* 

Sir  John  Wyndsore  (d.  14 14),  has  a 
slab  in  this  pavement  with  a  curious  rhym- 
ing inscription.  But  Sir  John  has  not 
always  occupied  his  grave  alone.  In  the 
early  years  of  the  Civil  War  some  of  the 
Puritan  leaders  were  burled  here  and  on  a 
small  stone  close  by  are  recorded  the 
names  of  John  Pym,  M.  P.,  and  William 
Strode,  M.  P. 

John  Pym  (d.  1643),  familiarly  known 
as  "King  Pym,"  on  account  of  his  great 
influence  in  the  famous  Long  Parliament, 
called  the  ablest  of  the  early  leaders  and 
the  implacable  foe  of  monarchy,  did  not 
live  to  witness  the  downfall  of  the  King 
and  his  party.  He  died  at  Derby  House 
(Cannon  Row),  an  ofirclal  residence  of 
the  Parliamentary  leaders  and  was  the 
first  of  these  to  be  accorded  a  magnificent 
public  funeral  and  a  monument.    His  body 

♦Chevalier  FormilH. 

236 


Tlie  Amhulatory 

was  borne  on  the  shoulders  of  one  hundred 
of  his  associates,  including  Sir  Harry  Vane, 
Sir  Arthur  Hazelrigg  and  Sir  William 
Strode,  both  Houses  of  Parliament  fol- 
lowing In  mourning  garb,  also  the  Assem- 
bly of  Divines,  which  was  then  sitting  in 
the  Jerusalem  Chamber.  At  Oxford,  the 
King's  friends  celebrated  the  funeral  with 
bonfires  and  feasts  of  joy.  The  body 
was  placed  under  Wyndsore's  slab  and  the 
grave  became  a  centre  of  interest  for  the 
next  few  years. 

Sir  William  Strode  (d.  1645),  another 
famous  Parliamentary  leader,  was  burled 
here.  His  name  will  long  be  remembered 
as  one  of  the  Five  Members  whose  Im- 
peachment Charles  I  had  demanded  as 
traitors,  and  whom  he  attempted,  with  a 
band  of  five  hundred  soldiers,  to  seize, 
entering  the  House  in  person  for  this  pur- 
pose. On  account  of  his  violent  methods, 
Strode  himself  was  called  the  "Parliament 
driver." 

Col.  Edward  Popham,  who  died  in 
165 1,  two  years  after  the  execution  of 
King  Charles,  "a  fierce  Independent,  and 
distinguished  both  on  sea  and  land,"  was 
later  burled  In  St.  John's  chapel. 

Two  noble  but  worn  tombs,  represent- 
ing two  Westminster  abbots  and  a  Dur- 
ham bishop,  of  the  fifteenth  and  sixteenth 

2Z7 


Westminster  Abhey 

centuries,  form  a  screen  on  the  north  side 
of  the  aisle  for  the  chapel  of  St.  John  the 
Baptist.  The  eastmost  tomb  blocks  up 
what  was  once  the  bay  of  entrance  to  the 
chapel,  which  is  now  entered  farther  on. 
Thomas  Ruthall,  Bishop  of  Durham 
(d.  1523),  rests  under  a  high  tomb  of 
Perpendicular  Gothic  which  has  lost  its 
rich  canopy.  Both  tomb  and  effigy  are 
much  decayed,  and  the  latter,  indeed,  is 
almost  a  shapeless  mass  but  reveals  a 
vested  figure  with  high  mitre  having  long, 
fringed  infulae.  The  feet  rest  on  a  large 
lion.  At  the  west  end,  above  the  head, 
is  a  niche  for  a  small  figure.  Heraldic 
achievements  at  the  head  display  a  shield 
and  helmet  surmounted  by  a  mitre:  at  the 
base  of  the  tomb  are  five  shields.  Bishop 
Ruthall  was  private  secretary  to  Henry 
VIII.  Shakespeare  has  transferred  an 
historical  incident  concerning  him  to  Wol- 
sey.  The  Bishop  was  a  very  rich  man 
for  his  time,  his  property  being  estimated 
at  £100,000.  He  was  asked  to  send  a 
volume  containing  certain  State  papers  to 
the  King:  but  sent  instead  a  book  contain- 
ing an  inventory  of  his  wealth.  Wolsey, 
being  no  friend  of  the  bishop,  saw  the 
mistake  but  delivered  the  book  to  the 
King,  saying  that  "he  would  now  know 
where  a  man  of  money  was,   in  case  he 

238 


The  Amhulatory 

needed  it."  The  Bishop,  who  seems  to 
have  been  both  generous  and  wise  in  the 
use  of  his  wealth,  is  said  to  have  died  of 
grief  occasioned  by  his  mistake. 

George  Fascet,  Abbot  of  Westminster 
for  two  years  (d.  1500),  lies  in  the  next 
bay  to  the  west,  under  a  fine  stone  monu- 
ment with  canopy.  The  low  altar  tomb 
has  a  rich  Purbeck  slab  from  which  the 
effigy  has  been  removed.  Traceried  pan- 
els decorate  the  base,  bearing  the  arms  of 
the  Confessor:  the  crossed  keys  of  St. 
Peter:  the  pastoral  staff  and  mitre  (the 
peculiar  emblem  of  the  bishopric,  but  their 
use  permitted  to  the  Abbots  of  Westmin- 
ster, St.  Albans  and  some  other  large 
houses)  :  and  three  swords  meeting  at  the 
hilt,  with  three  water  bougets.  The  can- 
opy is  flat,  having  a  low,  broad  arch  be- 
neath, with  cornice  and  battlements,  and 
is  supported  by  heavy  buttresses  at  the 
angles.  The  spandrils  are  carved  with 
foliage  and  shields  of  arms:  traceried  pan- 
els decorate  the  interior:  the  initials  MF 
and  foliage  ornament  appear  in  the 
frieze. 

The  stone  coffin  which  now  rests  on 
this  tomb  is  thought  to  be  that  of  Abbot 
Thomas  Millyng  (d.  1492),  Bishop  of 
Hereford  after  being  Abbot  of  Westmin- 
ster:    "Promoted   ...   by  Edward  IV 

239 


Westminster  Abhey 

in  reward,  principally,  for  the  services 
which  he  had  rendered  to  his  Queen  when 
in  sanctuary  in  this  church,  and  to  whose 
eldest  son,  afterwards  Edward  V,  he  him- 
self and  the  Prior  had  stood  godfathers." 
The  coffin  is  six  feet  nine  inches  long  and 
on  opening  it  was  found  to  contain  dust, 
some  bones  and  remnants  of  cere-cloth. 
The  lid  is  broken  In  three  places.  The 
cross  fleury,  the  badge  of  Hereford,  ap- 
pears on  the  lid. 

The  plain  tomb  of  Edward  I  on  the 
south  side  of  the  aisle,  the  last  of  the 
series  of  three  royal  tombs  in  the  Confes- 
sor's chapel  seen  from  this  point  shows  no 
trace  of  the  beauty  which,  in  some  form, 
must  have  belonged  to  it  when  first 
erected. 

On  the  north  side  of  the  tomb  of  Ed- 
mund Crouchback  (d.  1296),  second  son 
of  Henry  III,  buried  in  the  Sanctuary, 
are  seen  the  rich  brackets  of  the  canopy, 
once  containing  angels:  the  riding  knight 
in  the  canopy  arch:  and  the  ten  small 
figures  ot  "weepers"  in  the  arcade  which 
decorates  the  base  of  the  altar  tomb. 
These  figures,  though  now  much  muti- 
lated, are  delicately  carved  In  a  variety  of 
attitudes  and  evidently  were  once  gilded. 
Two  tiny  sculptured  shields  In  each  bay  of 
the  arcade  are  suspended  by  carved  stone 

240 


The  Amhulatory 

straps  attached  to  rosettes  In  the  mould- 
ing. Notice  also  the  effigy:  chain  mall 
covers  the  head:  the  surcoat  Is  long  and 
the  shield  heater-shaped,  as  In  the  early 
style  of  armour,  and  a  well-carved  angel 
supports  the  head.  Notice  also  the  roses 
thickly  dotting  the  hollow  moulding  of  the 
canopy,  and  the  fine  cusping,  the  vaulting 
and  bosses. 

There  Is  a  large  blue  marble  slab  In 
the  pavement  to  Brian  Duppa  (d.  1662), 
successively  Bishop  of  Chichester,  Salis- 
bury and  Winchester,  a  steady  friend  of 
Charles  I  and  tutor  to  Charles  II.  The 
inscription  is  in  Latin  and  above  it  the 
arms  of  Winchester  are  Incised,  also  the 
emblems  of  the  Order  of  the  Garter  and 
Its  motto  and  a  jewelled  mitre  with  long 
tasselled  infulae. 

Abbot  Easteney  (d.  1498),  has  the 
richest  ecclesiastical  brass  in  the  Abbey. 
The  low  Purbeck  tomb  on  which  the  brass 
is  placed  now  rests  close  to  the  monument 
of  Wolfe,  In  whose  stead  it  was  displaced 
from '  its  original  position.  The  Abbot 
was  buried  in  the  chapel  of  St.  John  the 
Evangelist.  The  figure  on  the  brass, 
though  only  three  feet  ten  inches  high,  is 
of  excellent  proportions.  Notice  the  high 
jewelled  mitre,  the  embroidered  amice  and 
orphreys;  the  chasuble,  bordered  and  jew- 

241 


Westminster  Abbey 

elled:  the  fringed  dalmatic:  the  alb  with 
apparel  and  the  embroidered  stole. 
From  the  mouth  of  the  effigy  issues  a  label 
bearing  the  inscription  ^''Exultaho  in  Deo 
Jh'u  meo."  A  beautiful,  triple  arched 
canopy  over  the  figure  is  supported  by  rich 
buttresses  and  all  the  details  are  of  much 
interest. 

Abbot  Easteney  was  a  friend  and  pa- 
tron of  Caxton:  assisted  at  the  coronations 
of  Richard  III  and  Henry  VII:  ruled  at 
Westminster  1474-1498,  and  was  deeply 
interested,  during  the  last  years  of  his  life, 
in  the  progress  of  the  nave  building  which 
he  personally  superintended.  At  this 
time  the  nave  was  vaulted  and  the  great 
west  window  placed.  But  though  he 
cleared  the  Abbey  of  its  large  debt,  yet  he 
exceeded  its  revenue  when  completing  the 
nave  by  about  £600,  which  had  to  be  made 
up  by  several  of  his  successors  in  office. 

The  great  monument  to  Major-General 
Wolfe,  a  brave  young  soldier  of  thirty- 
two,  killed  in  the  defeat  of  the  French 
on  the  Heights  of  Abraham  at  Quebec,  in 
1759*  towers  up  at  the  west  end  of  this 
aisle,  occupying  much  space  that  would 
better  be  left  vacant,  if  beauty  and  effec- 
tiveness were  considered.  The  great 
structure  consists  of  three  parts,  the  base, 
the  sarcophagus  and  a  relief  group  at  the 
242 


The  Ambulatory 

top.  On  the  base  is  a  bronze  relief  rep- 
resenting the  landing  of  the  British  troops 
at  the  Heights  of  Abraham  and  their 
perilous  feat  in  scaling  the  precipice. 
The  sarcophagus  has  at  its  base  two  reclin- 
ing British  lions,  one  roaring.  The  relief 
at  the  top  shows  the  death  of  Wolfe  and 
the  Angel  of  Victory  hovering  above  with 
a  crown  of  laurel.  The  French  flag  is 
beneath  the  general's  feet.  Wolfe  was 
only  eighteen  when  he  fought  at  Culloden 
as  brigadier-major.  He  had  been  devot- 
edly attached  to  a  young  lady  but  neither 
she  nor  her  parents  regarded  him  with 
favour  and  she  died  unmarried,  only  six 
months  before  he  fell  at  Quebec,  and  he 
wore  her  miniature  to  the  last.  His  body 
was  brought  home  and  buried,  not  in  the 
Abbey  but  in  the  parish  church  of  St. 
Alphege  at  Greenwich. 

Sir  John  Harpendon  (d.  1457)  is  bur- 
ied in  this  north  aisle.  His  low  Purbeck 
tomb,  which  was  once  raised  four  feet 
from  the  floor,  was  placed  with  that  of 
Abbot  Easteney  between  the  north  aisle  of 
the  transept  and  this  aisle,  just  beyond 
Isllp's  door:  but  both  tombs  were  removed 
to  make  way  for  the  monument  of  Wolfe, 
and  Harpendon's  placed  here  near  Ay- 
mer's  tomb.  The  Purbeck  slab  is  raised 
about  eighteen  inches  from  the  floor,  and 

243 


Westminster  Abhey 

bears  a  fine  military  brass  representing  the 
knight  in  plate  armour,  narrow  jewelled 
sword  belt  and  long  sword,  prick  spurs, 
the  hands  in  prayer.  The  head  rests  on 
a  helmet  having  for  its  crest  a  hind's  head 
issuing  from  a  crown.  There  are  four 
shields  of  arms.  Sir  John  was  the  fifth 
and  last  husband  of  Joan  de  la  Pole,  Lady 
Cobham,  a  famous  heiress  of  Kent. 

West  of  this,  in  the  pavement,  is  a  stone 
showing  brass  indents  of  two  monks, 
Thomas  Brown  and  Humphrey  Roberts 
(d.  1508),  the  two  on  one  stone,  but  why 
so  closely  linked  I  do  not  know. 


244 


CHAPTER  XII 

THE  CHAPEL  OF  EDWARD  THE 
CONFESSOR 

(Early  English,  1245-1269) 

"He  towards  whose  dust  was  attracted 
the  fierce  Norman  and  the  proud  Plantag- 
enet,  the  grasping  Tudor  and  the  fickle 
Stuart,  even  the  Independent  Oliver,  the 
Dutch  William  and  the  Hanoverian 
George,  was  one  who,  weak  and  erring  as 
he  was,  rests  his  claim  to  interment  here 
not  on  any  act  of  power  or  fame  hut  only 
on  his  artless  purity  and  simple  goodness 
.  whose  humble  graces  are  within 
the  reach  of  every  man,  woman  and  child, 
if  we  rightly  part  the  immortal  substance 
from  the  perishable  form."— Dean  Stanley. 

The  chapel  of  the  Confessor,  called  also 
the  chapel  of  the  Kings  or  Capella  Regum, 
the  Westminster  Holy  of  Holies,  and  The 
Saint's  Chapel,  is  not  a  separate  structure 
built  and  dedicated  as  a  chapel,  but  is 
made  up  of  the  two  eastmost  bays  and  the 
apse  of  the  presbytery  set  apart  by  Henry 
III  to  contain  the  tomb  and  shrine  of  the 
saint  whom  he  held  in  great  honour.  A3 
first  built,  there  was   no  dividing  screen 

245 


West?ninstcr  Abbey 

between  these  eastern  bays  and  those  to 
the  west  in  which  the  high  altar  was 
located:  hence  the  tomb  and  shrine  were 
visible  throughout  the  length  of  the 
church:  and  since  they  stood  elevated 
above  the  level  of  the  nave  and  transept, 
and  very  near  the  high  altar,  they  must 
have  formed  an  intimate  connection  with 
the  interior  of  the  church  and  its  daily 
services  and  must  have  held  a  more  inti- 
mate place  in  the  thoughts  of  both  cele- 
brants and  worshippers  than  after  they 
were  concealed  by  the  screen. 

It  must  be  remembered  that  the  shrine 
and  tomb  were,  for  a  time,  the  only  monu- 
ments existing  within  the  chapel,  the  Sanc- 
tuary, ambulatory  or  side  chapels.  Chau- 
cer and  Spenser  had  not  yet  been  born  to 
give  name  and  fame  to  the  Poets'  Corner, 
nor  did  the  Statesman's  Aisle  of  the  north 
transept  yet  dream  of  the  honours  await- 
ing it,  nor  could  one  have  foretold,  in  this 
thirteenth  century,  how  closely  the  surge 
of  departing  life  would  come  to  press  upon 
these  noble  walls,  then  fresh  from  the 
builder's  hands.  The  shrine  was  there- 
fore a  much  more  conspicuous  object  than 
at  a  later  period  when  its  beauty  was 
brought  into  comparison  with  that  of  the 
numerous  royal  tombs  erected  in  its  near 
vicinity. 

246 


< 
K 


u 


w 


TJie  Chapel  of  Edward  the  Confessor 

The  eastern  portion  of  a  mediaeval 
church  was  always  the  most  honoured 
on  account  of  its  nearness  to  the  high  altar 
where  precious  relics  were  usually  en- 
shrined: but  especially  was  this  true  when 
the  relics  of  a  patron  saint  or  founder  here 
had  place,  as  in  the  case  of  St.  Etheldreda 
at  Ely:  of  St.  Cuthbert  at  Durham:  of 
St.  Hugh  at  Lincoln,  St.  Frideswide  at 
Oxford,  of  St.  Alban  at  St.  Albans  and  of 
Becket  at  Canterbury.  But  the  saint  of 
Westminster  was  greater,  in  the  eyes  of 
its  monks,  than  any  of  these,  for  he  was  a 
royal  saint,  even  the  King  of  England,  and 
not  only  that  but  he  was  the  founder  and 
builder  of  their  Abbey.  Around  his  shrine 
and  tomb,  kings  and  queens  and  royal 
children  naturally  gathered  in  their  burials, 
as  the  choicest  and  most  sacred  abiding 
place  within  the  church,  in  the  belief  that 
so  they  would  share  in  the  sanctity  and  the 
heavenly  favour  accorded  to  the  devout 
saint. 

The  first  burial  within  the  Norman 
abbey  was  that  of  the  Confessor  himself: 
and  here,  a  few  years  later  the  body  of 
his  queen  was  placed  by  his  side.  In  thus 
inaugurating  the  Abbey  as  a  place  of  royal 
burials,  the  king  caused  to  be  preserved 
for  us  a  vitally  interesting  history  of  the 
sovereigns  of  England  for  many  centuries. 

247 


Westminster  Abhey 

"The  history  of  the  royal  tombs  Is  the 
history  of  the  Abbey  itself,"  says  Stanley: 
but  even  more  than  this,  the  history  of 
the  tombs  is  almost  an  epitome  of  the  his- 
tory of  England.  When  Henry  III  died 
It  was  eminently  fitting  that,  as  the 
church's  second  founder  and  munificent 
builder,  he  should  here  take  his  rest:  fit- 
ting, also,  that  around  him  his  family 
should  find  burial,  his  eldest  son,  Edward 
I,  at  his  head:  the  beloved  daughter-in-law, 
Queen  Eleanor,  at  his  feet:  and  that 
here  the  strong  third  Edward,  his  grand- 
son, should  come,  and  Edward's  grandson, 
Richard  II,  with  their  queens:  and  later, 
that  gallant  soldier,  Henry  V,  and  his 
French  queen.  Six  kings.  Including  four 
of  the  eight  Plantagenets,  and  six  queens 
(if  we  include  Henry  V's  chantry  with  the 
Confessor's  chapel),  are  thus  burled  here 
and  all  save  three  have  memorials:  and 
because  the  chapel  was  originally  held 
sacred  and  entered  by  a  privileged  few, 
the  first  king  buried  here  directed  that  all 
the  tombs  should  be  placed  high  In  order 
that  they  might  be  readily  seen  from  the 
aisles. 

The  chapel  may  be  entered  from  the 

f  north  ambulatory  or  from  the  east  by  a 

flight  of  steps.     It  Is  elevated  several  feet 

above  the   surrounding  ambulatory  by  a 

248 


The  Chapel  of  Edward  the  Confessor 

tumulus  or  mound  of  earth  composed  of 
\  soil  consecrated  and  brought  from  the 
\  Holy  Land  in  ships  by  the  order  of  Henry 
III,  and  Is  said  to  be  the  last  funeral 
tumulus  in  England.  The  base  on  the 
east,  towards  the  ambulatory  Is  traceried. 
The  architecture  of  this  part  of  the 
eastern  arm  of  the  church  has  already 
been  described  In  the  chapter  on  The 
Sanctuary.  For  convenience,  we  may 
repeat  here  that  the  chapel  consists  of  one 
bay  and  an  apse  of  three  compartments, 
in  three  stages,  with  a  stone  vault,  and  is 
surrounded  by  an  ambulatory.  Against 
Its  eastern  wall  Is  built  the  towering 
chantry  of  Henry  V,  approached  by  stone 
stairways  within  the  two  stone  turrets 
on  Its  west  face.  A  fifteenth  century 
screen  forms  a  wall  of  separation  from 
the  Sanctuary  at  the  west.  The  five 
eastmost  arches  of  the  main  arcade  are 
narrower  and  more  acutely  pointed  than 
those  at  the  west,  In  order  to  allow  for 
the  contraction  of  the  apse.  All  the  span- 
drlls  of  the  main  arcade  and  of  the  tri- 
forium  are  richly  diapered.  The  heavy 
columns  which  support  the  main  arches 
are  surrounded  by  four  slender  detached 
shafts,  in  the  earlier  and  less  admirable 
manner  of  Henry  Ill's  building:  those  of 
later  date  to  the  west  having  eight  shafts. 

249 


Westminster  Ahhey 

The  piers  of  the  eastmost  bay  are  entirely 
obscured  by  the  rich  tabernacle  work  with 
statuary  which  encloses  the  stone  stair- 
ways leading  to  Henry  V's  chantry  above, 
and  a  screen  with  iron  grille  runs  between 
the  eastern  piers. 

The  triforium  stage,  like  that  of  the 
Sanctuary  which  it  continues,  is  very 
richly  carved  in  two  planes,  having  two 
sub-divided  containing  arches  in  all  bays 
except  the  three  at  the  east,  which  have 
but  a  single  containing  arch.  All  are 
richly  cusped  and  their  spandrils  enriched 
with  diaper  work.  The  Confessor's  tomb 
and  shrine  are  in  the  midst  of  the  chapel. 

A  series  of  stately  medlasval  tombs  en- 
tirely surrounds  the  shrine  on  three  sides, 
each  under  an  arch  of  the  main  arcade,  in- 
cluding in  order,  beginning  with  the  west- 
most  on  the  north  side,  those  of  Edward  I : 
Henry  III:  Queen  Eleanor:  Henry  V 
(Katherine  of  Valols  is  in  the  chantry 
above):  Phillppa:  Edward  III:  Richard 
II  and  Anne  of  Bohemia.  The  lofty,  pall- 
covered  basement  and  superstructure  of  the 
Confessor's  tomb  and  shrine  rises  in  the 
midst,  and  at  Its  north  lies  burled  the  Con- 
fessor's Queen,  Edith:  and  on  the  south, 
the  Saxon  Queen  Maud, 

Interesting  views  appear  on  all  sides. 
To  the  east,  glimpses  of  the  rich  vestibule 

250 


The  Chapel  of  Edward  the  Confessor 

of  Henry  VII's  chapel:  to  the  north  and 
south,  into  the  small  but  lofty  ambulatory 
chapels  with  their  wealth  of  monuments: 
at  the  west,  into  the  north  and  south  tran- 
septs with  their  rich  architectural  detail : 
and  through  the  small  traceried  doors  of 
the  western  screen,  glimpses  of  the  Sanc- 
tuary and  of  the  long  choir  and  nave 
aisles  may  be  obtained. 

The  chapel  area  is  so  narrow  and  is  so 
encroached  upon  by  tombs  that  an  early 
morning  hour  is  the  best  time  for  quiet 
study. 

The  Pavement  is  chiefly  of  the  original 
thirteenth  century  work  except  a  small  por- 
tion at  the  west  end  of  the  shrine  where 
the  old  altar  stood,  which  is  now  laid  with 
red  tiles.  Its  general  features  are  the 
same  as  those  of  Abbot  Ware's  Sanctuary 
pavement,  but  it  is  much  less  elaborate,  con- 
tains fewer  designs  and  suggests  that  the 
supply  of  material  brought  from  abroad 
was  nearly  exhausted  when  this  work  was 
undertaken.  What  remains  of  the  old 
work  is  much  worn  away  by  the  passing 
feet  of  many  generations. 

A  rich  fragment  of  the  original  mosaic 
Is  now  concealed  by  a  step  under  Henry 
V's  chantry.  It  was  placed  in  honour  of  a 
little  grave  beneath,  that  of  Prince  Al- 
phonso,   the   young   son  of  Edward   III 

251 


Westminster  Abbey 

(d.  1284),  the  heir  to  the  throne  and  a 
child  of  much  promise. 

The  beautiful  Screen  of  light  stone 
which  separates  the  chapel  from  the  Sanc- 
tuary at  the  west  was  built  either  in  the 
reign  of  Henry  VI  or  of  his  successor, 
Edward  IV,  more  probably  the  former, 
who  held  the  Confessor's  name  in  great 
veneration.  It  is  a  fine  example  of  fif- 
teenth century  work,  though  all  of  its 
statues  and  many  of  its  canopied  niches 
are  broken  away. 

The  screen  is  fourteen  feet  two  inches 
high  and  thirty-eight  feet  six  inches  long: 
it  consists  of  a  single  stage  which  is 
pierced  by  two  small  doorways  of  open 
tracery  leading  into  the  Sanctuary  beyond 
and  has  a  stone  frieze  two  feet  six  inches 
wide,  richly  carved  with  scenes  from  the 
Legendary  Life  of  the  Confessor.  The 
main  wall  space  is  decorated  with  tracerled 
panels  and  beautiful  canopied  niches,  large 
and  small,  once  filled  with  statues,  among 
which  were  St.  George,  St.  Dionysius  and 
a  king  in  prayer.  The  tracery  and  vault- 
ing of  the  canopies,  and  the  carved  work 
of  the  pedestals  are  delicately  wrought  and 
of  much  beauty. 

The  famous  frieze  which  runs  along  the 
entire  wall  at  the  top  of  the  screen  con- 
sists of  a  curiously  designed  running  vine 
252 


The  Chapel  of  Edward  the  Confessor 

of  large  trefoils  resembling  a  clover  leaf, 
the  alternate  leaves  being  faced  by  shields, 
now  blank.  In  the  spaces  between  the 
leaves  and  shields,,  a  platform  is  formed 
by  the  vine  stem  and  upon  this  are  carved 
scenes,  real  and  imaginary,  in  the  life  of 
the  Confessor  as  recorded  by  Ailred, 
Abbot  of  Rivaulx.  The  principal  figures 
are  about  one  foot  in  height:  each  subject, 
with  a  sHght  exception  in  the  seventh,  is 
carved  from  a  single  stone,  and  the  fourth 
and  fifth  from  the  same  stone.  Begin- 
ning at  the  left  or  south  the  subjects  are: 

(a)  The  Saxon  nobles  swearing  fealty 
to  Queen  Emma  in  the  name  of  her  unborn 
son.  This  took  place  when  Ethelred, 
father  of  the  Confessor,  called  a  council 
when  the  Danes  were  pressing  him  hard, 
and  asked  advice  as  to  a  successor.  And 
since  it  had  been  predicted  that  Edmund 
Ironside,  his  son  by  his  first  wife,  should 
have  a  short  life :  and  that  Alfred,  Emma's 
oldest  son,  should  die  prematurely,  the 
council  agreed  to  the  rights  of  the  unborn 
son.  In  the  screen,  the  Queen  is  repre- 
sented standing  in  the  midst  of  a  large 
assembly  and  the  knights  raise  their  right 
hands  in  fealty. 

(b)  The  birth  of  the  Confessor,  at 
Islip,  in  Oxfordshire,  in  1004:  the  Queen 
is  on  a  state  bed  which  is  very  hard  and 

253 


Westminster  Abbey 

meagre,  and  has  for  covering  a  stiff  pil- 
low: her  infant  is  held  by  two  attendants. 

(c)  The  coronation  of  the  King  in 
1043,  by  the  Archbishops  of  Canterbury 
and  York. 

(d)  The  King  has  a  vision  of  a  demon 
dancing  on  a  cask  of  money,  which  repre- 
sents the  Danegelt,  or  tax  imposed  by  his 
father  in  order  to  supply  money  to  bribe 
the  Danes  to  cease  from  their  depreda- 
tions. In  a  single  year,  this  tax  amounted 
to  £32,000  (at  that  time  equal  to  771,056 
acres  of  arable  land,  says  a  modern 
writer),  and  had  become  a  heavy  burden 
on  the  people  but  constituted  a  large  part 
of  the  King's  income.  In  105 1  there  was 
a  terrible  famine  in  England  and  food  was 
very  dear.  The  Queen  directed  Edward's 
attention  to  the  great  store  of  this  tax  then 
collected  in  the  treasury  and  he  was  so 
touched  by  the  sight  that  he  remitted  the 
tax  and  caused  the  money  to  be  restored 
to  the  people.  The  head  of  the  dancing 
demon  has  been  broken  away  from  the 
sculpture. 

(e)  The  King,  lying  on  his  bed,  gives 
warning  to  a  scullion  who  is  stealing  from 
his  treasure  chest,  to  escape  before  Hugo- 
lin,  his  treasurer  discovers  him:  Edward 
excuses  his  conduct  to  Hugolin,  saying 
that  the  thief  may  have  greater  need  of 
money  than  he. 

254 


The  Chapel  of  Edward  the  Confessor 

(f)  The  King  at  mass  has  a  vision  of 
our  Lord  in  human  form  standing  upon 
the  altar:  the  King  appears  kneehng  at  the 
altar. 

(g)  The  King  has  a  vision  of  the 
shipwreck  of  the  Danish  King  as  he  is 
setting  out  to  Invade  England. 

(h)  As  the  King  and  Queen  sit  at 
table  with  Earl  Godwin,  and  his  two  sons, 
Tostig  and  Harold,  the  King  drinks  to  the 
health  of  the  younger  son,  Harold,  where- 
upon his  older  brother  seized  Harold  by 
the  hair,  and  "layd  mightie  blows  upon 
him,  so  that  the  kynge  himself  was  fayne 
to  put  his  hand  to  separate  them." 

(I)  The  King  has  a  vision  of  the 
Seven  Sleepers  of  Ephesus  (sleeping  in 
their  cave  since  the  year  250),  turning 
from  their  right  sides  over  to  their  left. 
Indicating  the  approach  of  some  great 
event  in  the  world's  history.  The  King 
sends  a  messenger,  who  is  represented  in 
the  sculpture  as  coming  to  the  cave  and 
finding  it  as  the  King  had  seen. 

(j)      The   familiar  story  of  St.  John, 

disguised  as  a  pilgrim,  asking  alms  of  the 

'King,  who,  having  no  money  In  his  purse, 

gives  him  a  ring  of  great  value  from  his 

finger. 

(k)  The  King,  after  washing  his 
hands,  presents  the  water  to   four  blind 

255 


Westminster  Ahhey 

men,  who  wash  in  it  and  are  restored  to 
sight. 

(1)  The  story  of  the  King  and  the 
pilgrim  is  continued  here.  St.  John  gives 
the  King's  ring  to  two  pilgrims  and  bids 
them  tell  the  King  that  he  will  soon  depart 
this  life. 

(m)  The  two  pilgrims  giving  the  ring 
to  the  King. 

(n)  The  subject  of  this  last  sculpture 
is  uncertain,  but  the  representation  of  a 
part  of  the  Abbey  suggests  that  it  may 
refer  tQ  the  dedication. 

The  various  groups  are  best  studied 
with  a  glass,  and  on  a  bright  day.  They 
are  worth  careful  attention  for  their 
quaint  and  curious  composition  and  excel- 
lent workmanship.  When  all  the  niches 
were  filled  with  statues  and  the  gilding 
and  colour  with  which  they  were  decor- 
ated was  fresh,  the  effect  of  this  western 
wall  of  the  chapel  must  have  been  brilliant. 

The  Stained  Glass  which  once  filled 
all  the  long  series  of  windows  in  the 
Abbey  has  almost  entirely  disappeared.  I 
find  no  record  of  its  destruction  by  Crom- 
well's soldiers,  and  assuredly  Cromwell, 
who  designed  the  Abbey  to  be  the  burial 
place  of  himself,  his  family  and  his  offi- 
cers, would  naturally  prevent  its  destruc- 
tion.    It  may    be    that    the    glass    was 

256 


The  Chapel  of  Edward  the  Confessor 

removed  at  this  period  and  hidden  away, 
to  be  discovered  by  some  archaeologist  of 
the  future. 

The  east  windows  of  the  clerestory  of 
the  apse  contain  nearly  all  that  remains  of 
the  once  beautiful  glass  and  this  is  but  a 
collection  of  fragments  of  the  thirteenth, 
fifteenth,  sixteenth,  seventeenth  and  eigh- 
teenth centuries,  much  mended  with  mod- 
ern glass;  and  since  little  if  any  is  in  its 
original  position,  an  orderly  description  is 
not  possible.  The  tall  figures  which 
occupy  the  large  lights  are  of  the  fifteenth 
century:  the  shields  of  arms  of  the  thir- 
teenth: while  the  quarries  and  small  sec- 
tions in  the  tracery  are  evidently  from  the 
sixteenth  century  glazing  of  Henry  VII's 
chapel. 

The  original  glass  of  Henry  Ill's 
church  is  readily  identified.  We  know 
that  glazing  was  in  progress  as  early  as 
1253,  and  the  apse  windows  would  natur- 
ally be  among  the  first  to  be  completed. 
Several  coats  of  arms  remain  of  this 
period,  but  whether  in  their  original  posi- 
tion or  transferred  here  from  elsewhere 
is  not  known.  The  size  of  the  shields 
and  the  fact  that  thirteenth  century  glaz- 
iers usually  employed  heraldry  at  the  base 
of  figures,  suggests  another  position. 
Only  two  or  three  of  these  shields  now 

257 


Westminster  Ahhey 

remain:  the  shields  of  Provence,  the  land 
of  Henry  Ill's  queen:  of  Castile  and 
Leon,  and  Ponthleu,  borne  by  Eleanor, 
the  queen  of  Edward  I,  and  the  crowned 
Hon  of  Richard,  Earl  of  Cornwall,  the 
King's  brother,  all  of  which  must  date 
from  Henry  Ill's  time,  and  doubtless  here 
as  elsewhere  they  were  inserted  in  memory 
of  benefactions  to  the  building  fund.  So 
late  as  1810  thirteen  shields  were  de- 
scribed as  remaining  in  these  windows, 
and  a  sketch  of  that  date  represents  three 
small  figures  In  each  light,  one  placed 
above  the  other  as  in  the  clerestory  win- 
dows at  Canterbury,  making  eighteen  fig- 
ures In  all. 

The  prominent  feature  of  the  windows 
today  is  the  series  of  six  Perpendicular 
figures,  one  In  each  light,  grouped  In  pairs, 
all  of  rich  and  glowing  pot  metal  glass, 
though  badly  mutilated  and  mended  with 
modern  glass.  The  figures  are  nearly 
seven  feet  high  and  under  low  arched 
canopies.  Each  figure  stood  on  a  pedestal 
and  had  draped  curtains  at  the  back  and 
a  rich  carpet,  as  in  Edward  IV's  window 
In  the  north  transept  at  Canterbury. 
Each  figure  Is  made  up  of  many  small 
pieces :  the  faces  were  originally  cut  from 
a  single  piece  of  white  glass,  but  none  are 
now  entire.     The  colouring,  however,  is 

258 


The  Chapel  of  Edward  the  Confessor 

exceedingly  rich  and  beautiful,  in  particu- 
lar the  ruby,  sapphire  and  amber. 

The  northmost  two-light  window  con- 
tains two  figures  which  are  called  those  of 
our  Lord  and  the  Virgin  Mary.  The  for- 
mer is  represented  crowned,  standing  with 
eyes  downcast,  bears  a  book  and  a  staff, 
and  has  robes  of  beautiful  ruby  mingled 
with  emerald  and  sapphire.  The  Virgin, 
in  rich  emerald  mantle  over  a  close- 
sleeved  robe  of  deep  ruby,  has  a  golden 
halo  delicately  ornamented.*  The  face 
is  still  pleasing  in  its  expression  of  earnest- 
ness as  she  gazes  upon  her  Son,  apparently 
listening  to  His  words. 

The  central  pair  of  figures  represent, 
with  little  doubt,  Edward  the  Confessor 
and  St.  John  disguised  as  a  pilgrim  receiv- 
ing the  King's  ring  as  alms.  Some  idea 
of  the  size  of  these  figures  may  be  gained 
from  the  fact  that  the  face  of  the  Con- 
fessor measures  fifteen  inches  in  length. 
The  King  wears  the  splendid  embroidered 
robes  in  which  he  is  usually  represented, 
the  outer  one  of  deep  ruby  flowered  with 
gold,  and  trimmed  with  ermine,  and  the 
collar  bordered  with  ermine:  the  lining 
flowered:  the  inner  robe  of  amber,  also 
flowered,  and  a  large  letter  E  is  seen  in 
several  places  on  the  drapery,  according  to 

*Neale  calls  this  halo  a  straw  hat. 
259 


Westminster  Abhey 

a  fashion  of  the  period.  The  face  is 
noble,  the  eyes  large  and  thoughtful,  the 
beard  is  worn  long,  the  crown  has  fleur-de- 
lis  ornament.  The  figure  of  St.  John 
though  dressed  as  a  pilgrim,  has  a  brilliant 
sapphire  mantle  over  the  robes,  the  large 
hood  of  a  pilgrim,  deep  collar  bordered 
with  ermine,  embroidered  ruby  vest,  large 
wide  sleeves,  and  the  letter  I  in  various 
places  on  his  garments.  He  bears  the 
pilgrim's  staff  and  a  scrip  with  buckled 
lid.  His  hand  is  extended  to  receive  the 
King's  ring.  The  feet  are  bare.  An 
interesting  feature  of  this  group  is  the 
draped  curtains  which  still  remain,  as  they 
were  originally  in  all  these  figures,  that 
of  St.  John  being  ruby,  and  of  the  King 
emerald,  both  depending  from  golden 
rods.  The  diapered  carpet  and  the  pedes- 
tals also  remain  in  this  group. 

The  third  pair  of  figures  in  the  south 
window  are  thought  to  represent  St. 
Augustine  and  Mellitus,  Bishop  of  Lon- 
don, who  came  from  Rome  to  England 
to  assist  St.  Augustine.  The  former 
figure,  called  St.  Augustine  (but  the 
identification  is  by  no  means  certain),  has 
long  mustaches,  straight  hair,  long  beard 
in  ringlets,  wears  a  robe  of  crimson  fas- 
tened by  a  jewelled  broach  with  an  outer 
robe  of  sapphire,  and  is  represented  turn- 

260 


The  Chapel  of  Edward  the  Confessor 

ing  the  leaves  of  a  book.  The  figure 
called  Mellltus  is  badly  patched,  but  the 
episcopal  robes  are  of  crimson,  emerald 
and  purple,  the  outer  robe  is  fastened  by  a 
sapphire  clasp  with  a  topaz  in  the  centre 
and  bears  a  mitre  and  crozier,  both  set 
with  precious  stones.  The  letter  M  ap- 
pears on  his  garments. 

Several  fragments  and  some  quarries, 
evidently,  from  their  subject,  from  Henry 
VII's  chapel,  appear  in  the  tracery:  among 
them  are  a  crown  on  a  hawthorn  bush: 
the  crossed  keys  of  St.  Peter,  of  gold  on  a 
ruby  ground:  and  a  rich  Tudor  rose  of 
glowing  ruby-red,  for  ever  red,  with  a 
heart  of  gold,  which  gleams  radiantly  at 
all  hours  of  all  days. 

The  Coronation  Chair,  which  is  now 
placed  against  the  screen  at  the  west  end 
of  the  Confessor's  chapel,  is,  in  its  pres- 
ent worn  condition,  unremarkable,  though 
once  brilliant  with  gold  and  colour  and 
no  doubt  beautiful.  It  is  a  low  armed 
chair  of  wood  having  a  pointed  arched 
back,  panelled  sides,  and  the  feet  rest  on 
four  lions.  It  does  not  appear  to  be  very 
well  constructed.  "Many  a  poor  old  wo- 
man, with  only  one  room,  has  a  better  and 
a  more  handsome  made  chair,"  wrote 
Kohn,  a  Swedish  professor  visiting  the 
Abbey  several  years  ago. 
261 


Westminster  Abbey 

The  chair  was  not,  however,  built  for 
its  present  exalted  use.  When  Edward  I 
gained  possession  of  the  famous  Scottish 
Stone  of  Scone,  in  1297,  he  desired  to 
present  it,  as  a  valued  trophy  of  his  con- 
quest, to  the  shrine  of  the  Confessor  built 
by  his  father.  He  had,  at  about  this  time, 
completed  the  rich  tombs  of  his  father  and 
his  Queen,  Eleanor.  No  other  royal 
tombs  then  stood  in  the  chapel.  In  pre- 
senting this  trophy  of  his  hard-fought  wars 
to  the  spot  of  earth  which  contained  that 
which  had  been  dearest  to  him  in  life,  the 
King  caused  the  stone  to  be  enclosed  in  a 
painted  wooden  chair,  and  gave  It  to  the 
Abbey  to  be  used  as  the  liturgical  seat  of 
the  priest  who  might  be  saying  mass  at 
the  Confessor's  shrine:  and  for  a  long 
time  the  chair  stood  near  the  altar  of  the 
shrine  facing  west. 

It  was  of  oak,  richly  painted  by  Walter 
of  Durham,  and  decorated  with  beautiful 
stones  imitating  jewels:  the  painting  was 
elaborately  and  carefully  wrought  by 
Master  Walter,  the  King's  master  painter, 
who  had  been  employed  on  the  famous 
Painted  Chamber  of  the  King's  palace  of 
Westminster.  A  large  figure  of  a  king 
appeared  on  the  back,  faint  traces  of 
which  now  are  seen  on  close  Inspection. 
All  the  surface  Is  now  scratched  over 
262 


Coronation  Chair 


The  Chapel  of  Edicard  the  Confessor 

thickly  with  initials,  one  of  a  schoolboy, 
who  vowed  that  he  would  spend  the  night 
in  the  Abbey,  sleep  in  the  chair  and  leave 
his  name  here :  all  of  which  he  did. 

The  famous  Stone  of  Scone,  which  is 
now  clamped  to  the  underside  of  the  chair 
seat,  and  to  receive  which  the  chair  was 
made,  is  twenty-six  inches  long,  sixteen 
inches  wide  and  eleven  inches  thick.  It  is 
of  a  dull  red  or  purplish  sandstone  from 
the  west  coast  of  Scotland,  and  chisel 
marks  indicate  that  at  some  time  it  was 
prepared  to  use  for  building.  Interesting 
tradition,  however,  identifies  it  with  that 
stone  on  which  Jacob's  head  rested  when 
he  had  a  vision  of  angels  ascending  and 
descending  the  ladder  let  down  from 
heaven,  and  which  he  set  up  as  a  pillar, 
anointing  it  with  oil  and  naming  the  place 
Bethel.  From  thence,  it  is  said,  the  sons 
of  Jacob  bore  it  into  Egypt.  It  next 
appears  in  Sicily  and  Spain,  and  is  then 
taken  to  Ireland  by  the  king's  son,  Simon 
Brech,  c.  700  B.  C,  and  here  it  was 
planted  on  the  sacred  Hill  of  Tara.  It 
was  then  called  the  Lla  Fail  or  Stone  of 
Destiny.  On  it  the  kings  of  Ireland  were 
placed  and  if  the  chief  was  a  true  suc- 
cessor, the  stone  was  silent:  If  a  pretender, 
"it  groaned  aloud  as  with  thunder." 

Varying    fortunes    followed  the   stone. 

263 


Westminster  Ahhep 

It  is  next  found  In  Scotland,  In  Scone,  two 
miles  and  a  half  from  Perth,  where  It  was 
brought  In  840  by  King  Kenneth,  encased 
in  a  chair  of  wood  and  placed  in  the  ceme- 
tery of  the  Augustine  Abbey  of  Scone, 
beside  a  cross,  near  the  Mount  of  Belief. 
In  this  chair  the  kings  of  Scotland  were 
seated  for  coronation  by  the  Earls  of  Fife. 
Thus  Perth  became  the  central  city  of 
Scotland,  Its  sedes  principalis.  The  first 
historical  record  of  a  coronation  at  Scone 
was  that  of  Malcolm  IV,  in  11 54,  and 
from  that  date  until  the  time  of  Balliol  the 
kings  of  Scotland  were  crowned  here. 

King  Kenneth  in  the  seventh  century  is 
said  to  have  engraved  on  the  stone  a 
prophecy  that  wherever  it  was  found  there 
Scottish  kings  should)  reign,  and  this  was 
fulfilled  In  1603,  when  James  VI  of  Scot- 
land became  James  I  of  England.  Per- 
haps the  most  probable  of  all  the  explana- 
tions or  legends  concerning  the  stone  is 
that  which  Identifies  it  with  the  stony  pil- 
lar on  which  Columba  rested,  and  on  which 
his  dying  head  was  laid  at  the  Abbey  of 
lona:  and  if  so  "It  belongs  to  the  minister 
of  the  first  authentic  Western  consecration 
of  a  Christian  Prince,  that  of  the  Scottish 
chief,  Aldan."* 

Since  the  time  of  Edward  I,  all  English 

♦Stanley. 

264 


The  Chapel  of  Edward  the  Confessor 

sovereigns  have  been  seated  in  this  chair 
at  their  coronation  ceremonies  and  it  has 
usually  been  covered  with  cloth  of  gold. 
In  this  chair  Richard  II  is  represented  as 
sitting,  in  the  portrait  which  now  hangs  in 
the  Sanctuary.  It  is  variously  known  as 
the  Coronation  Chair:  King  Edward's 
Chair  and  the  Royal  Chair.  In  Shake- 
speare's Henry  VI,  the  Duchess  of  Glou- 
cester reveals  her  high  ambitions  in  the 
well-remembered  lines : 

"Methought  I  sate  in  seat  of  majesty 
In  the  cathedral  church  of  Westminster 
And    in    that   chair    where    kings    and    queens    are 
crowned." 

Only  once  in  the  last  five  centuries  or 
more  has  the  chair  left  the  Abbey.  In 
1657,  Cromwell  caused  it  to  be  carried 
across  the  way  to  Westminster  Hall, 
where  he  was  installed  Lord  Protector. 
"The  stone  is  the  one  primeval  monument 
which  brings  together  the  whole  empire. 
The  iron  rings,  the  battered  surface,  the 
crack  which  has  all  but  rent  its  solid  mass 
asunder,  all  bear  witness  to  its  long  migra- 
tions. It  is  thus  imbedded  in  the  heart  of 
the  English  monarchy,  an  element  of 
poetic,  patriarchal,  heathen  times  .  .  . 
a  link  which  unites  the  throne  of  England 
to  the  traditions  of  Tara  and  lona  and 
connects  the  charm  of  our  complex  civi- 
lization with  the  forces  of  our  mother 
265 


Westminster  Ahhcy 

earth,  the  stocks  and  stones  of  savage 
nature."* 

Formerly  two  coronation  chairs  stood 
here,  the  second  made  for  the  double  coro- 
nation of  William  and  Mary  in  1689:  but 
after  the  coronation  of  Edward  VII  the 
second  one  was  removed  to  Henry  VII's 
chapel. 

The  Sword  and  Shield  of  Edward  III, 
preserved  at  the  west  end  of  the  Confes- 
sor's chapel,  are  said  to  be  those  that  were 
borne  before  the  king  in  France.  The 
sword  is  seven  feet  long  and  weighs  eigh- 
teen pounds.  Only  a  very  strong  person 
could  possibly  wield  it,  and  perhaps  it  was 
never  intended  to  be  worn,  but  only  carried 
in  processions  before  the  king.  It  is  evi- 
dently one  of  the  interesting  and  not  com- 
mon examples  of  the  wolf  swords  of 
Passau,  as  it  originally  bore  the  figure 
of  a  wolf,  granted,  in  the  first  instance, 
as  a  badge  of  excellence  to  the  Armour- 
ers' Guild  of  Passau  by  Archduke  Albert 
in  I349>  and  later  used  extensively  by 
the  armourers  of  Soligen  in  Westphalia. 
This  wolf  mark  was  seen  and  written  of 
by  a  visitor  to  the  Abbey  from  the  Con- 
tinent in  the  sixteenth  century. f  It  would 
*Stanley. 

tBencheley  Rye's  "England  as   Seen  by   Foreign- 
ers in. the  Sixteenth  Century." 

266 


The  Chapel  of  Edward  the  Confessor 

be  of  great  interest  to  trace  the  history  of 
the  sword.  It  may  have  been  presented 
to  Edward  III,  in  the  course  of  his  visits 
to  the  Continent.  Sir  Roger  de  Coverly, 
whose  observations  on  Westminster  Abbey 
were  assuredly  not  those  of  an  experi- 
enced antiquarian,  was  much  impressed  by 
this  sword,  which  visitors  were  formerly 
allowed  to  handle,  and  leaning  on  the 
pommel,  "gave  us  the  whole  history  of  the 
Black  Prince,  concluding  that,  in  Sir  Rich- 
ard Baker's  opinion,  Edward  III  was  one 
of  the  greatest  princes  that  ever  sat  on  the 
English  throne."* 

*The  accompanying  cuts  of  three  wolf  marks  are 
taken  from  early  swords.  The  mark,  often  called 
the  running  fox,  but  bearing  little  resemblance  to 
any  known  animal,  is  rudely  incised  on  the  blade, 


1 


-g^ 


usually,  I  think,  near  the  hilt.  The  upper  drawing 
is  taken  from  a  very  interesting  thirteenth  century 
sword,  by  the  courtesy  of  its  owner,  Dr.  Bashford 
Dean,  of  New  York  City. 


267 


CHAPTER  XIII 

THE    CONFESSOR'S    TOMB    AND 
SHRINE. 

The  King  died  January  6,  1066,  a  few 
days  after  the  dedication  of  the  church. 
According  to  the  legend,  he  had  received 
a  message  from  St.  John  the  EvangeHst, 
telling  him  that  within  six  months  he 
should  be  with  him  in  Paradise,  and  the 
King  set  himself  devoutly  to  arrange  for 
the  end.  As  we  have  seen  (v.  Chap.  II), 
he  was  not  able  to  attend  the  dedication  of 
the  Abbey  for  which  he  had  long  been 
preparing.  Around  his  death-bed  stood 
his  Queen,  Harold,  Earl  Godwin's  son, 
Stigand,  and  others,  and  Harold  and  his 
kindred*  earnestly  entreated  the  dying 
man  to  name  Harold  his  successor  and  so 
prevent  confusion,  the  King  having  no 
child  of  his  own  to  succeed  him.  But  the 
King  said,  "You  well  know  that  I  have 
given  my  realm  at  my  death  to  the  Duke 
of  Normandy,  whom  I  love  as  a  brother 
or  child,  and  as  I  have  given  it,  so  have 
some  among  you  swornf  that  you  would 

*Wace. 

tHarold  is  said  to  have  sworn,  on  relics,  to  sup- 
port the  Duke  of  Normandy. 

268 


The  Confessor's  Tomb  and  Shrine 

support  him."  Harold  again  urged  the 
dying  King,  who  answered,  "Harold,  thou 
shalt  have  the  throne,  but  I  know  full  well 
that  it  will  cost  thee  thy  life.  If  I  know 
anything  of  the  Duke  and  the  multitude 
of  people  that  he  can  command,  none  but 
God  can  avail  to  save  thee,"  a  prophecy 
only  too  surely  fulfilled  within  a  few 
months,  when  Harold  fell  at  the  battle  of 
Hastings. 

The  King,  then  seeing  his  last  hour 
approaching,  said  to  those  who  were  weep- 
ing by  him  :*  "Put  away  your  weeping  and 
speed  forth  my  journey  with  prayers  and 
holy  psalms  and  alms  deeds" :  and  then  he 
set  his  mind  all  on  God,  and  among  words 
of  praising  yielded  up  his  spirit. f 

The  Confessor  was  buried  in  his  royal 

*Caxton's  Golden   Legend. 

tWace  tells  us  that  the  Confessor  considered 
within  himself  who  should  inherit  his  kingdom,  he 
having  no  child,  and  decided  to  leave  it  to  William 
as  "the  best  of  his  lineage."  All  the  good  that  he 
had  received  had  come  from  that  line :  his  Norman 
uncles  and  cousins  had  brought  him  up  and  edu- 
cated him  and  William  had  done  him  service,  "and 
he  had  loved  none  so  well"  as  this  family  of  Norman 
Dukes.  Hence,  and  "on  account  of  the  great  worth 
of  William  himself,"  he  decided  to  leave  him  the 
kingdom,  considering  that  he  could  do  no  better 
for  England.  Harold  was  his  brother-in-law,  but 
Harold  had  been  at  least  instrumental  in  causing 
the  death  of  the  Confessor's  brother,  and  it  was 
said  had  intended  to  dispose  of  Edward  himself, 
had  he  succeeded  in  bringing  them  to  England 
together. 

269 


Westminster  Ab  bey 

robes,  all  lavishly  embroidered  by  the 
Queen,  with  the  crown  on  his  head,  a 
golden  crucifix  depending  from  a  long  gold 
chain  about  his  neck,  and  on  his  hand  the 
gold  ring  restored  to  him  by  the  two  pil- 
grims. "The  body  as  it  lay  in  the  palace 
seemed  for  a  moment  to  recover  its  life- 
like expression.  The  unearthly  smile 
played  once  more  over  the  rosy  cheeks: 
the  white  beard  beneath  seemed  whiter, 
and  the  thin,  stretched-out  fingers  paler 
and  more  transparent  than  ever." 

He  had  desired  that  his  body  should 
rest  in  his  new  church  dedicated  to  St. 
Peter,  "to  whom  I  gave  myself  both  living 
and  dead."  Eight  of  his  liege  men  bore 
him  on  their  shoulders  from  the  palace, 
accompanied  by  noblemen,  governors, 
monks,  priests  with  tapers  and  boys  with 
censers,  all  represented  in  the  Bayeux 
tapestry.  Funeral  masses  were  said  for 
the  King's  soul  every  day  for  nearly  a  year 
thereafter.  Throngs  of  poor  and  dis- 
tressed visited  his  tomb  and  many  were 
relieved,  many  miracles  performed,  many 
stirred  to  holiness. 

The  character  of  Edward  the  Confes- 
sor is  increasingly  admirable  as  one  studies 
it.  If  he  was  less  forceful  and  impetuous 
than  some  sovereigns  of  England  have 
been,  yet  his  kindness  to  the  poor,  his  love 

270 


The  Confessor's  Tomh  and  Shrine 

of  justice  and  of  peace,  and  his  devotion 
to  the  church  won  for  him  the  good  will 
and  esteem  of  his  people  while  living  and 
his  canonization  after  death.  His  good 
feeling  towards  his  native  country  was 
evidenced  in  remitting  the  Danegelt,  the 
chief  source  of  his  revenues,  and  returning 
much  of  it  already  collected  to  those  who 
had  paid  it:  and  of  the  not  large 
remainder,  the  value  of  which  in  flocks, 
fields  and  money  he  caused  to  be  esti- 
mated, he  set  aside  one-tenth  for  the 
rebuilding  of  the  Abbey.  His  own  life 
and  that  of  the  Queen  were  ordered  with 
great  simplicity.  His  name  has  ever  been 
a  favourite  in  England  and  has  been  borne 
by  seven  kings. 

His  leisure  time  was  spent  chiefly  in 
superintending  the  Abbey  building,  in 
attendance  on  worship — he  had  from  in- 
fancy delighted  in  prayer — in  reading 
books  of  devotion,  in  conversation  with 
the  monks  and  especially  with  Abbot 
Edwin:  and,  though  he  was  fond  of  hunt- 
ing, it  seems  to  have  been  been  his  only 
form  of  recreation.  There  can  be  little 
doubt  that  his  proper  sphere  was  the  clois- 
ter. Yet  his  gentle  sway  had  its  powerful 
influence  in  the  history  of  the  wild  Saxon 
land.  And  underneath  his  love  of  the 
quiet  cloister  life  and  friends,  his  devotion 
271 


Westminster  Abbey 

to  the  church,  lay  a  strong  innate  sense  of 
loyalty  to  his  inheritance,  the  crown. 

"Each  one  who  sees  King  Edward*  is  more  courteous 

when  he  leaves  him : 
Each  one  receives  there,  each  one  learns,   ]\Iodera- 

tion,  sense  and  good  manners." 

His  long  years  at  the  Norman  court  and 
in  the  cultivated  society  of  the  monks  of 
the  great  school  in  the  Jumieges  monas- 
tery, produced  a  more  polished  and  agree- 
able personality  than  could  be  found  in  the 
wild  court  of  the  Saxons  and  Danes.  In 
person  the  King  was  very  tall  and  slender, 
his  complexion  unusually  fair  and  rosy,  his 
hair  also  singularly  fair  and  his  hands 
remarkably  slender,  delicate  and  trans- 
parent.! 

It  is  usual  to  speak  of  Edward  the  Con- 
fessor as  lacking  in  kingly  virtues  and  of 
his  reign  as  devoid  of  important  results  to 
the  country.  But  even  if  it  be  true  that  in 
his  time  no  great  reforms  were  instituted, 
no  important  laws  enacted,  yet  this  seem- 
ingly purposeless  King  wrought  much  and 

*Roman  de  Rou. 

tWace's  Roman  de  Ron.  or  Romance  of  Rollo :  a 
chronicle  of  the  Dukes  of  Normandy.  Wace  was 
born  in  the  island  of  Jersey,  c.  iioo:  educated  at 
Caen  in  Normandy  and  was  made  prebend  of  the 
cathedral  of  Bayeux  by  Henry  II.  He  wrote  as 
late  as  1173,  but  had  intimate  acquaintance  with 
some  who  were  present  at  the  battle  of  Hastings. 
His  story  of  the  lives  of  the  Norman  Dukes,  begin- 
ning with  Rollo,  the  first,  is  an  interesting  source  of 
information  for  students  of  this  period  of  history. 
272 


The  Confessor's  Tomb  and  Shrine 

wisely  for  future  generations  when  he 
opened  the  way  to  the  throne,  either  of 
purpose  or  unconsciously,  for  William,  the 
Norman  Duke,  whom  (as  many  allege) 
he  made  his  heir,  believing  him  to  be  the 
best  sovereign  for  England,  and,  as  it 
proved,  he  was  one  of  the  ablest  and  most 
powerful  that  England  ever  knew.* 
Again  he  wrought  wisely  when  he  laid  the 
foundations  of  a  noble  church,  in  a  new 
manner  which  was  soon  Imitated  all  over 
England,  and  made  this  church  to  be  a 
centre  of  national  Interest,  as  he  expressly 
desired  that  it  should  be,  not  only  a  place 
of  royal  burials,  but  of  coronations  for- 
ever. The  splendid  royal  processions 
down  these  aisles  (though  the  cathedral 
church,  the  seat  of  the  Bishop  of  London, 
is  St.  Paul's)  still  perpetuate  the  mem- 
ory of  this  faithful  king.  And  in  his  life 
of  purity  and  devotion  he  set  an  example 
which  will  not  be  forgotten  so  long  as  his 
name  is  remembered. 

No  attempt  to  secure  canonization  for 
the  King  seems  to  have  been  made  until 
1 140,  nearly  seventy-five  years  after  his 
death,  Gervase  being  abbot:  when  Prior 
Osbert,    having    prepared    an    elaborate 

*"No  man  that  ever  trod  this  earth  was  ever  en- 
dowed with  greater  natural  gifts  than  WiHiam  the 
Conqueror :  to  no  man  was  it  ever  granted  to 
accompHshed  greater  things." — Freeman. 


Westminster  Ahhey 

account  of  the  life,  death  and  miracles  of 
the  King,  to  present  to  the  Pope,  patiently 
travelled  to  Rome  for  this  purpose.  He 
returned  disappointed,  however:  money 
and  influence  were  said  to  be  lacking.  But 
twenty  years  later  the  same  Osbert,  under 
the  powerful  patronage  of  Becket  and 
Henry  II,  made  the  same  journey,  and 
from  the  new  pope,  Alexander  II,  he  joy- 
fully received  the  Bull  creating  Edward, 
son  of  Ethelred,  a  saint. 

The  surname  Confessor  is  first  applied 
to  this  King  in  the  Bull  of  canonization  of 
1 1 63  and  was  doubtless  bestowed  on 
account  of  his  exile  and  escape  from  the 
tyranny  of  the  Pagan  Norsemen,  as  Ed- 
ward the  East  Anglican  King,  by  his  death 
in  battle  with  them,  had  in  like  manner 
been  raised  to  the  rank  of  saint  and  mar- 
tyr. But  it  must  be  conceded  that  the  ap- 
plication is  somewhat  remote,  and  was 
probably  suggested  to  the  Pope  by  certain 
statements  in  the  letter  or  in  the  Life  pre- 
sented by  Prior  Osbert. 

The  King's  body  had  rested  before  the 
high  altar  in  his  new  church  for  nearly  a 
century.  In  October  of  the  year  of  his 
death,  William,  the  conquering  Duke, 
immediately  on  coming  to  London  after 
the  battle  of  Hastings,  visited  the  Abbey 
to  give  thanks  for  his  victory,  and  offered 

274 


The  Confessor's  Tomh  and  Shrine 

at  the  altar  two  caskets  of  gold,  fifty  silver 
marks,  and  a  rich  altar  cloth.  His  next 
care  was  the  grave  of  Edward  the  King, 
his  near  relative  and  dear  friend,  whose 
body  he  caused  to  be  placed  in  a  stone 
chest  of  great  value  and  over  it  he  spread 
a  rich  pall.  Nine  years  later  Queen  Edith 
died  and  William  caused  her  body  to  be 
placed  with  that  of  the  King,  and  built  a 
tomb  "of  admirable  beauty,"  delicately 
wrought  with  plates  of  gold  and  silver. 

The  King's  tomb  had  once  been  opened, 
in  the  time  of  Henry  I,  and  the  body  then 
pronounced  incorrupt.  It  was  now  again 
reverently  visited,  by  the  Archbishop  and 
Abbot  Lawrence,  at  midnight,  October  13, 
1 1 63,  and  was  found  entire  and  recogniz- 
able. "The  hands  and  feet  they  handle 
as  in  a  living  body  asleep."  The  rich 
pall,  the  gift  of  William  the  Conqueror, 
wrought  in  fine  gold  and  silver,  they  took 
away:  also  the  fine  embroidered  robes 
wrought  by  the  Queen :  and  from  one  of 
these  they  made  three  magnificent  copes, 
which  were  in  use  at  the  Abbey  so  late 
as  1388.  The  robes  were  replaced  by 
others,    exquisitely  fair. 

A  costly  shrine  had  been  prepared  to 
receive  the  relics  of  the  new  saint,  and  to 
this  they  were  now  reverently  translated, 
Archbishop  Becket  presiding  at  the  stately 

275 


Westminster  Abhey 

was  thereafter  celebrated  as  St.  Edward's 
ceremony  in  which  Henry  II  took  part. 
The  day  of  this  translation,  October  13, 
Day. 

This  first  shrine  of  the  Confessor  con- 
sisted of  an  enamelled  casket  set  on  a 
vaulted  sub-structure,  so  arranged  that 
those  who  sought  healing  might  place 
themselves  within  the  arches  beneath.  An 
altar,  as  in  Becket's  shrine,  was  erected  at 
the  west  end,  where  two  figures  in  gold 
and  silver,  one  of  St.  John  and  one  of  the 
Confessor,  were  set  on  low  pillars  on 
either  side.  The  casket  of  gold  and 
enamel  which  contained  the  relics  was  so 
curiously  wrought  that  the  value  of  the 
workmanship  is  said  to  have  exceeded  even 
that  of  the  precious  materials.  Among 
the  treasures  offered  at  this  time  was  an 
ivory  image  of  the  Virgin,  the  gift  of 
Archbishop  Becket,  who  had  promoted 
the  canonization. 

The  third  Translation  of  the  saint's 
body  (if  we  consider  the  re-entombing  by 
William  the  Conqueror  as  a  translation) 
occurred  when  the  present  church  was 
built  by  Henry  III.  While  it  was  build- 
ing, and  when  the  Norman  choir  was 
pulled  down,  the  old  shrine  and  its  relics 
were  removed  either  to  a  temporary  place 
in  a  chapel  or  else  in  the  royal  palace  near 

276 


The  Confessor's  Tomb  and  Slirine 

by.  Again,  on  St.  Edward's  Day,  Octo- 
ber 13,  in  1269,  the  sacred  relics  were 
borne  to  their  new  and  present  resting- 
place.  The  King,  Henry  III,  was  assisted 
in'  this  holy  duty  by  his  brother  Richard, 
Earl  of  Cornwall,  and  by  his  two  sons, 
Edmund  Crouchback  and  Prince  Edward 
(who  became  Edward  I).  All  of  this 
part  of  the  church  was  then  in  its  full 
beauty  of  polished  marble,  brilliant  glass, 
beautiful  mosaic  pavements,  and,  more 
beautiful  than  all,  at  least  in  its  costly 
decoration,  was  the  new  shrine  in  the 
midst  of  the  chapel.  It  was  a  goodly  sight, 
wrote  an  early  chronicler,  to  see  "how 
reverently  it  was  carried  .  .  .  and 
goodly  singing  and  incensing  as  has  ever 
been  seen  and  mass  was  sung." 

Sumptuous  gifts  were  showered  upon 
the  shrine  by  kings  and  princes,  in  this 
royal  Abbey  church.  Edward  I  presented 
the  Scottish  Regalia  and  the  golden  cor- 
onet of  Llewelleyn,  with  various  jewels: 
and  Edward  II  bestowed  golden  images 
of  the  Confessor  and  the  Pilgrim. 
Throngs  of  pilgrims  came  here  to  worship 
and  to  seek  for  healing  and  make  their 
grateful  offerings  for  cures  performed. 
Many  were  the  miracles  reported.  Adam 
of  Usk  records  that  in  1400  "four  little 
bells  hanging  at  the  four  corners  of  the 

277 


Westminster  Abhey 

shrine  .  .  .  went  ringing  of  their  own 
accord  and  with  more  than  human  power 
and  miraculously  sounded  four  times  in 
one  day,  to  the  great  awe  and  wonder  of 
the  brethren."  A  lamp  was  constantly 
kept  burning  before  the  shrine.  In  1269, 
when  the  King,  by  the  consent  of  the  Abbot 
and  convent,  pledged  the  jewels  belonging 
to  the  shrine  to  foreigners,  being  necessi- 
tated thereto  on  account  of  heavy  emer- 
gencies," the  value  of  these  treasures  was 
estimated  at  £2,557. 

In  peace  the  body  rested,  the  object  of 
reverent  love  and  devotion,  for  all  the 
years  between  1269  and  1539.  The  shrine 
remained  standing,  constantly  increasing 
in  riches  as  pilgrims  from  all  England  and 
indeed  from  all  Christendom,  came  with 
their  treasures  of  jewels  and  gold  for  more 
than  two  hundred  and  seventy  years. 
But  in  1539  the  monastery  was  dissolved 
by  Henry  VIII,  and  all  of  its  great  wealth 
which  the  King  had  not  previously  appro- 
priated went  to  enrich  the  Royal  Treas- 
ury. The  Confessor's  body  was  hidden 
away  by  the  monks,  and  all  that  remained 
was  the  broken  basement  of  the  stately 
shrine,  as  we  see  it  today. 

On  the  accession  of  the  Roman  Catholic 
Queen  Mary,  during  the  revival  of  the 
monastic  life  at  Westminster,  the  Queen 

278 


The  Confessor's  Tonib  and  Shrine 

ardently  wished  to  restore  the  glory  of  the 
old  shrine.  The  fragments  of  the  rich 
basement  were  brought  together:  a  fere- 
tory made  of  thin  wood  in  the  Renaissance 
design  was  prepared  and  a  similar  struc- 
ture erected  above  it,  all  of  which  were 
probably  ornamented  with  mother-of-pearl 
and  painted  mosaic,  of  which  some  few 
traces  remain.  The  steps  were  re-set,  but 
not  in  their  proper  place,  and  the  marks 
worn  by  kneeling  pilgrims  are  now  shown 
to  be  out  of  their  original  position. 

The  saint's  body  was  now  disinterred, 
and  in  1557  its  Translation  was  one  of  the 
solemn  fetes  with  which  Queen  Mary 
entertained  her  Spanish  husband.  The 
royal  pair,  with  the  Russian  ambassador 
and  other  distinguished  guests,  marched 
around  the  cloister  in  solemn  procession, 
accompanied  by  the  chapter  and  the  cho- 
risters, who  "sang  with  marvellous  sweet- 
ness and  rich  gifts  were  offered." 
Machyn  tells  us  that  it  was  a  goodly  sight 
and  that  there  were  one  hundred  lights  and 
much  incensing. 

Since  Queen  Mary's  time,  no  attempt 
has  been  made  to  restore  the  glories  of 
the  Confessor's  shrine,  but  a  beautiful  vel- 
vet pall,  prepared  to  adorn  it  at  the  time 
of  Edward  VII's  coronation,  has  been  left 
in  its  place,  concealing  the  plain  wooden 

279 


Westminster  Abbey 

structure  beneath,  including  the  coffin.  In 
1685,  when  the  scaffolding  erected  in  this 
chapel  at  the  coronation  of  James  II  was 
removed,  it  was  found  that  a  small  open- 
ing nearly  six  inches  square  had  been 
broken  in  the  coffin  lid  and  the  sanctity  of 
the  tomb  was  again  invaded  by  curious 
hands.  It  was  then  seen  that  the  head 
and  teeth  of  the  dead  King  were  sound  and 
firm.  A  rich  enamelled  crucifix  four 
inches  long  was  found,  having  on  the 
reverse  side  the  figure  of  a  Benedictine 
monk,  and  on  the  right  arm  of  the  cross 

A 
the  Roman  capitals        ZAX       and  on  the 

A 
P 

left  arm        A  c     The  cross  was  hollow, 

H 
had  evidently  enclosed  a  relic  and  was 
attached  to  a  beautiful  gold  chain  twenty- 
four  inches  long,  in  which  were  set  four 
large  rubies.  King  James  ordered  that 
the  crucifix  and  chain  be  removed,  and  that 
a  strong  new  coffin  of  heavy  planks  two 
inches  thick  and  barred  with  iron  be  made 
to  enclose  the  old  one:  and  this  outer 
coffin  is  that  which  is  seen  today.  It  has 
double  hinges  two  each  at  the  head  and 
feet  and  five  across  at  the  sides,  and  two 
iron  bars  fastened  with  lead. 

The  thirteenth  century  Shrine,  the  lower 
280 


The  Confessor's  Tomb  and  Shrine 

part  of  wklch  remains,  was  of  great  beau- 
ty and  value  as  completed  by  Henry  III, 
and  consisted  of  three  stages:  the  lofty 
stone  basement,  rectangular  in  shape,  en- 
riched with  mosaics  and  provided  with 
three  arched  recesses  on  each  side  wherein 
the  sick  might  be  placed  for  healing:  a 
wooden  feretory  resting  on  this  base,  over- 
laid with  gold  plates  and  studded  with 
gems,  containing  the  coffin:  and  a  wooden 
cover  or  canopy  to  protect  the  valuable 
chest  beneath,  overlaid  with  beautiful 
work,  probably  so  arranged  as  to  be  drawn 
up  with  a  pulley.  There  was  an  altar  at 
the  west  end,  as  now. 

Only  the  lower  stage,  the  basement,  now 
remains  of  this  beautiful  structure,  which, 
for  convenience,  though  not  correctly,  is 
called  the  Shrine :  and  this,  with  a  single 
exception,  is  the  only  part  of  a  shrine  of  a 
mediaeval  church  now  remaining  in  Eng- 
land which  retains  its  original  relics.  The 
most  costly  and  valued  portion  was,  of 
course,  the  second  stage  of  wood  overlaid 
with  gold  and  encrusted  with  a  great  store 
of  gems  presented  from  time  to  time  by 
royal  and  other  visitors.  Beautiful  little 
gold  statues  set  with  jewels  were  placed 
at  intervals  around  the  feretory,  among 
them  a  figure  of  St.  Peter,  the  King's 
patron  saint:  the  Virgin  and  Child, 
281 


Westjninster  Ahbey 

enriched  with  emeralds,  garnets  and 
rubies:  one  of  Henry  III  bearing  a  model 
of  his  church,  the  gift  of  Eleanor,  Henry's 
Queen:  another  representing  Our  Lord 
with  the  Evangelists,  and  several  figures 
of  angels.  Beautiful  twisted  columns  lav- 
ishly enriched  with  glass  mosaic,  once  sup-, 
ported  the  entablature  at  the  east:  and*^' 
similar  but  smaller  columns  at  the  west 
were  detached  and  supported  the  golden 
figures  of  Edward  the  Confessor  and  the 
Pilgrim,  given  by  Edward  II ;  or  else  they 
were  placed,  as  now,  close  to  the  basement 
of  the  shrine  and  supported  a  slab  enriched 
with  lozenges  of  porphyry  which  formed 
a  reredos  for  the  small  altar. 

The  Purbeck  marble  basement,  which 
is  now  standing,  is  of  Italian  workman- 
ship, three  bays  in  length,  having  three 
trefoiled  recesses  on  the  north  and  south 
sides,  where  the  sick  were  placed  for  heal- 
ing. All  the  stone  work  was  richly  in- 
laid with  mosaic,  the  Cosmati  work  (of 
which  we  study  later)  arranged  in  a  vari- 
ety of  patterns  and  designs.  A  low,  hand- 
some iron  grille  now  protects  the  structure. 

The  six  Recesses  have  trefoiled  Gothic 
heads  but  rest  on  Renaissance  pilasters. 
The  entire  interior  of  each  recess,  as  well 
as  the  supporting  pilasters,  is  covered  over 
with    mosaic,    but    the    tesserae,    though 

282 


The  Confessor's  Toinh  and  Shrine 

deeply  embedded  In  cement,  have  been 
picked  out,  one  by  one,  by  visitors,  devout 
and  otherwise.  A  range  of  seven  panels, 
alternately  large  and  small,  runs  at  the 
head  of  the  arched  recesses,  from  which 
they  are  separated  by  a  narrow  border,  the 
panels  once  containing  lozenges  of  por- 
phyry, those  In  the  large  panels  placed 
angle-wise,  and  those  In  the  smaller,  up- 
right, within  an  Involved  guIUoche  border. 
The  reredos  of  the  altar  was  formed  of 
six  lozenge-shaped  porphyry  panels,  one 
of  which  remains.  It  Is  doubtful  If  the 
twisted  columns  at  east  and  west  are  In 
their  original  position.  They  had  been 
broken  away  and  when  their  fragments 
were  discovered  they  were  re-set  by  Scott. 
The  mosaics  which  appear  In  the  shrine 
and  Henry  Ill's  tomb  are  In  themselves  of 
much  Interest.  They  are  CosmatI  work, 
so  called  from  two  members  of  a  Roman 
family  named  Cosmas,  who  seem  to  have 
had  a  monopoly  of  this  sort  of  mosaic 
work  at  the  time  the  shrine  was  being 
made,  but  which  was  originally  derived 
from  Greek  sources  and  was  revived  and 
much  used  in  Italy  in  the  thirteenth  cen- 
tury. The  patterns  were  produced  with 
small  bits  of  marble  sawn  into  various 
shapes,  arranged  in  guilloche,  triangles, 
parallelograms,    circles,    discs    and   other 

283 


Westminster  Abbey 

designs,  and  used  for  pavements  of  large 
churches.  But  the  finer  work  of  this  sort, 
to  which  the  term  Cosmati  is  more  cor- 
rectly applied,  was  enlivened  with  tesserae 
of  gold  and  coloured  glass,  and  was  par- 
ticularly suited  to  shrines  and  monuments. 
It  was  also  well  adapted  to  the  enrichment 
of  twisted  columns,  such  as  appear  on  this 
shrine  and  in  numerous  churches  of  Italy, 
for  the  support  of  images  or  of  Easter 
candles.  Porphyry  and  precious  marbles, 
often  obtained  from  antique  columns,  were 
also  freely  used.  Other  families  than  the 
Cosmati  employed  this  art  and  the  Con- 
fessor's shrine  was  inscribed  with  the  name 
Peter,  a  Roman  citizen,  brought  from 
Rome  by  Abbot  Ware  (but  who  may  have 
been  a  Cosmati).  The  Cosmati  work  in 
the  cloister  of  St.  John  Lateran  is  signed 
with  the  name  Vasalletti.  The  shrine  of 
St.  Simplicius  Faustinus  and  Beatrice,  for- 
merly in  the  church  of  St.  Maria  Mag- 
giore  at  Rome,  which  found  its  way  to 
Horace  Walpole's  collection  at  Strawberry 
Hill,  was  of  this  same  Cosmati  work,  stood 
twenty-five  feet  high  and  was  dated  1301. 
A  great  variety  of  patterns  appear  in 
the  shrine,  as  if  the  artist  wrought  from 
a  luxuriant  imagination  and  a  liberal  allow- 
ance of  material.  No  two  of  the  arched 
recesses  exhibit  the  same  design  and  the 

284 


The  Confessor's  Tonib  and  Shrine 

rectangular  frames  which  enclose  them 
have  the  guilloche  pattern  on  the  north 
side  and  a  looped  design  on  the  south.  At 
the  east  end  these  patterns  unite.  Beauti- 
ful twisted  columns  enriched  with  Cosmati 
work  once  supported  the  entablature  at  the 
east,  one  of  which  remains :  and  similar 
but  smaller  columns  at  the  west  support  a 
wide  facing  or  slab  enriched  with  porphyry 
lozenges  which  formed  a  small  reredos. 

The  artist's  inscription  on  the  cornice  in 
letters  of  blue  glass  three  inches  high, 
reads: 

AiDW  Mileno  Domini  Cum  Septuagcno 

£,t  bis  cenetno  cum  completo  quasi  deno 

Hoc  opus  est  factum  quod  Petriis  duxit  in  actum 

Romanus  civis  Iionio  causam  noscere  si  vis 

Rex  fiiit  Henricus  sancti  praesentis  amicus. 

The  altar  at  the  west  end,  where  masses 
were  said  for  the  repose  of  the  King's  soul, 
was  long  since  dismantled.  In  Its  place 
stands  a  modern  altar,  having  a  miniature 
Rood,  which  was  consecrated  by  Bishop 
Welldon,  on  the  morning  of  Edward  VII's 
coronation  day,  August  lo,  1902,  after  the 
coronation  oils  had  been  blessed.  Previ- 
ous to  this  date,  the  entire  structure 
of  the  shrine  above  and  below  had  been 
open  and  the  coffin  visible  from  above, 
from  Henry  V's  chantry:  but  the  rich  red 
velvet  pall  with  gold  border,  prepared  to 
overlay  it  during  the  coronation  festivities, 
285 


Westminster  Abhey 

has  since  been  allowed  to  remain,  and  only 
the  lower  stage  is  now  visible.  Other 
basements  of  shrines,  more  or  less  muti- 
lated, may  be  seen  in  the  cathedrals  of  St. 
Albans,  of  Ely,  of  Hereford,  Oxford  and 
Chester.  The  entire  height  of  this  struc- 
ture Is  fourteen  feet  nine  inches. 

So  late  as  the  time  of  the  French  Revo- 
lution, the  chapel  was  held  in  such  esteem 
by  many  that  the  sweepings  and  dust  of 
the  place  were  carefully  preserved  and 
exported  in  barrels  to  Spain  and  Portugal. 
In  the  more  recent  years  it  has  been  less 
considered.*  Nightingale,  writing  in 
1815,  says  that  the  shrine  was  neglected, 
defaced  and  abused.  To  this  chapel  every 
year,  on  St.  Edward's  Day,  October  13, 
devout  Roman  Catholics  come  In  large 
numbers,  and  throughout  the  entire  day, 
until  the  closing  hours  of  the  Abbey,  they 
may  be  seen  kneeling  In  prayer  or  In  medi- 
tation on  the  old  pavement  of  Henry  III, 
or  perchance  holding  their  children  to 
touch  the  shrine,  which  to  them  is  still 
sacred  since  It  contains  the  body  of  a 
saint. 

*Stow  (writing  c.  1598)  said  that  the  chapel  con- 
tained nothing  of  vakie  save  some  Gothic  antiqui- 
ties which  served  to  excite  the  admiration  of  the 
vulgar,  and  that  Henry  V's  chantry  was  "unhappy 
in  taste,'"  and  its  workmanship  wretched. 


286 


CHAPTER  XIV 

OTHER  TOMBS  IN  THE  CONFES- 
SOR'S  CHAPEL 

The  grave  of  Edith,  the  Saxon  Queen  of 
the  Confessor,  who  died  in  1075,  is  sup- 
posed to  be  on  the  north  side  of  his  shrine, 
but  with  no  memorial.  She  outHved  her 
royal  husband  nine  years,  was  beautiful  in 
heart  and  in  life,  the  gentle  daughter  of 
the  fierce  old  Earl  Godwin,  and  sister  of 
Harold,  "a  rose  growing  from  a  prickly 
briar;  as  comes  the  rose  from  the  thorn, 
came  Edith  from  Godwin."  She  was  well 
versed  in  the  languages  and  branches  of 
knowledge  of  that  day,  and  had  excellent 
executive  ability.  Her  skill  in  embroidery 
of  gold  and  silver,  in  engraving  and  por- 
traiture, are  mentioned  by  the  chroniclers; 
and  the  beautiful  robes  of  state  which  she 
wrought  for  the  King  and  in  one  of  which 
he  was  burled,  were  so  remarkable  that  at 
the  first  translation  of  the  body  they  were 
esteemed  of  such  value  that  they  were 
removed  and  made  Into  three  copes  which 
are  spoken  of  as  magnificent  and  which 
continued  in  use  down  to  the  early  years 


Westminster  Ahhey 

of  the  fourteenth  century.  Malmesbury 
wrote  with  enthusiasm  of  the  beauty  of  her 
mind  and  of  her  person,  and  Ingulphus, 
the  Saxon  historian,  Abbot  of  Croyland, 
records  that  while  he  was  a  lad  in  the  mon- 
astery school  at  Westminster,  the  Queen 
used  often  to  stop  him  and  his  schoolfel- 
lows in  her  walks,  ask  them  of  their  prog- 
ress In  Latin,  and  discuss  points  of  gram- 
mar with  them.  She  died  at  Winchester, 
and  by  the  Conqueror's  orders  was  burled 
with  her  husband  In  a  rich  tomb  before 
which  a  costly  lamp  was  ordered  to  be  kept 
burning  perpetually.  At  the  time  that  the 
Confessor  was  rebuilding  the  Abbey,  the 
Queen  was  also  rebuilding,  in  stone,  the 
old  wooden  minster  for  the  nuns  at  Wil- 
ton, and  this  was  consecrated  shortly 
before  the  King's  death. 

Queen  Maude,  wife  of  Henry  I  (d. 
iiiS),  known  in  history  as  the  good 
Queen  Maude,  grandniece  of  the  Confes- 
sor, Is  burled  on  the  south  side  of  the 
shrine.  She  was  a  princess  of  Scotland, 
and  the  only  one  who  ever  became  a 
queen  consort  of  England,  the  English 
Kings  usually  seeking  brides  from  the  Con- 
tinent. She  was  for  seven  years  at  Wil- 
ton Abbey,  but  resisted  attempts  to  make 
her  a  nun.  She  was  said  to  be  fair  to  look 
upon  (but  this  statement  is  made  of  very 

288 


Other  Tombs  i)i  the  Confessor's  Chapel 

nearly  every  queen,  princess  and  noble- 
woman buried  in  the  Abbey,  and  is  not 
always  borne  out  by  illustrations)  :  to  have 
delighted  in  music,  which  she  performed 
with  ability:  to  have  been  learned,  holy 
and  wise.  During  Lent,  she  walked  bare- 
footed every  day  to  church,  clad  in  sack- 
cloth. She  founded  the  hospital  of 
St.  Giles-in-the-Fields.  Her  marriage  to 
Henry  I  was  much  approved,  both  in  Eng- 
land and  in  Scotland.  She  died  while  her 
husband  was  engaged  in  wars  in  Nor- 
mandy, much  regretted,  as  she  had  been 
much  beloved.  An  interesting  portrait  of 
this  Queen  appears  in  the  Book  of  the 
Benefactors  of  St.  Albans,  now  preserved 
in  the  British  Museum. 

The  beautiful  tomb  of  Henry  III  (d. 
1272),  the  fourth  Plantagenet  king  and 
the  builder  of  the  present  Abbey,  is  fittingly 
placed  in  the  midst  of  his  work,  on  the 
north  side  of  the  shrine  which  he  held  in 
such  esteem.  It  is  next  in  age  to  the  Con- 
fessor's tomb  and  shrine  and  was  erected 
at  about  the  same  time.  No  monument 
to  his  memory  was  needed,  however,  other 
than  the  magnificent  church  of  his  rearing. 

That  he  was  an  able  sovereign  and  a 

wise  ruler,  no  one  ventures  to  assert.      But 

his  private  life  was  free  from  the  blemishes 

so  often  recorded  against  kings,  and  his 

289 


Westminster  Ahhey 

religious  zeal  was  scarcely  exceeded  by 
that  of  the  Confessor.  He  regularly 
attended  three  masses  a  day  and  often 
more,  with  sincere  delight:  was  of  refined 
tastes,  a  lover  of  the  arts  and  of  literature, 
and  is  often  quoted  as  such  by  Matthew 
Paris,  whose  society  he  often  sought  and 
who  is  his  most  enthusiastic  biographer. 
He  was  an  affectionate  husband  and 
father,  kind  to  his  half-brothers,  to  grate- 
ful and  to  ungrateful  relatives  of  whom  he 
had  a  large  number  of  both  sorts,  espe- 
cially the  latter. 

Concerning  his  history  as  connected  with 
the  building  and  consecration  of  the  church 
we  have  already  read  (v.  Chap.  Ill) .  He 
had  reigned  fifty-six  years  and  was  a  com- 
pact, robust  little  man  of  sixty-six  when 
he  was  taken  suddenly  ill  at  Bury  St.  Ed- 
munds, November,  1272,  while  returning 
from  Norwich  where  he  had  been  to  quell 
a  riot.  The  recent  death  of  his  beloved 
brother,  Richard,  Earl  of  Cornwall, 
caused  him  great  sadness.  Feeble  and 
suffering,  he  insisted  on  hastening  to  his 
palace  of  Westminster,  where  he  died. 
"The  King  confessed  his  sins  with  all 
humility,*  beating  his  breast  with  grief; 
remitted  ill  will  to  all  and  was  then 
absolved   by    a    prelate,    after    which    he 

*Matthew    Paris. 

290 


Other  Tombs  in,  the  Confessor's  Chapel 

devoutly  received  the  body  of  Christ,  and 
being  anointed  with  the  extreme  unction  of 
the  church  ...  he  rendered  up  his 
spirit  to  the  Lord.  His  body  was  buried 
with  all  honour  at  Westminster." 

The  King  had  especially  directed  that 
his  body  should  be  placed  in  the  coffin  in 
which  the  Confessor  had  received  his  first 
burial,  but  which  he  had  replaced  with  an- 
other at  the  translation  of  the  saint's  body, 
in  the  belief  that  he  might  receive  some 
benefit  from  its  supposed  sanctity.  Here, 
then.  It  was  reverently  laid,  dressed  in  his 
richest  robes  and  wearing  his  crown.  The 
Knights  Templars,  with  the  Queen's  per- 
mission, assumed  the  entire  charge  of  the 
magnificent  funeral  ceremonies.  As  the 
body  was  laid  in  the  grave,  the  Earl  of 
Gloucester,  by  the  dying  request  of  the 
King,  placed  his  hand  on  the  coffin,  the 
coffin  of  St.  Edward,  and  swore  fealty  to 
the  King's  son,  Edward  I,  then  absent  on 
a  pilgrimage  to  the  Holy  Land.  The 
King's  effigy  was  borne  In  the  procession, 
magnificently  arrayed  according  to  the 
custom  and  It  was  said  that  he  shone  more 
splendidly  when  dead  than  he  had  ap- 
peared when  living,  though  he  was  ever 
fond  of  rich  attire.  His  heart  he  had  be- 
queathed for  burial  to  the  Abbey  of  Fon- 
tevraud,  where  were  burled  his  mother, 
291 


Westminster  Ahhey 

Isabella,  the  widow  of  King  John:  his 
grandparents,  Henry  II  and  Eleanor,  and 
his  uncle,  Richard  Coeur  de  Lion.  The 
Abbess  of  Fontevraud,  who  chanced  to  be 
visiting  in  England  at  this  time,  received 
the  heart  in  a  rich  vase,  at  the  hands  of 
the  King's  son,  Edmund  Crouchback,  and 
two  bishops. 

The  beautiful  high  altar  tomb  with  its 
bronze  effigy  stands  directly  north  of  the 
Confessor's  tomb,  overlooking  the  ambu- 
latory, and  In  each  tomb,  contained  In  a 
chest  which  lies  above  ground,  facing 
towards  the  east,  rests  the  remains  of 
these  early  kings  who  wrought  so  gen- 
erously for  the  Abbey  that  we  enjoy 
today.  They  are  separated  from  each 
other  by  scarcely  more  than  the  distance 
of  a  hand  clasp.  Henry's  monument  was 
one  of  the  most  costly  of  the  period  and 
was  the  loving  gift  of  his  faithful  son  and 
heir,  Edward  I,  who  deeply  mourned  his 
father's  death. 

The  tomb  bears  a  striking  resemblance 
to  the  shrine  which  it  faces,  both  in  design 
and  detail,  and  was  not  unlikely  wrought 
by  the  same  hands.  The  large  slabs  of 
porphyry,  however,  are  said  to  have  been 
brought  from  the  East.  It  is  a  high  altar 
tomb  of  Purbeck,  of  Renaissance  aspect, 
with  scarcely  a  Gothic  feature,  having  hol- 

292 


,ri,!!l!i!iii,LiiMIILWrP.|-TO7D^iiri 


The  Tomb  of  Henry  111 
From   an    engraving   by    Dart 


Other  Tombs'  in  the  Confessor- s  Chapel 

lowed  out  arches  or  recesses  in  the  base, 
similar  to  those  in  the  shrine.  On  the 
base  rests  a  marble  chest  containing  the 
King's  body,  and  bearing  a  beautiful  effigy 
in  bronze :  the  meagre  wooden  canopy  is 
of  later  date.  The  tomb  is  elaborately 
decorated  with  Cosmati  work,  but  much  of 
the  mosaic  has  been  picked  out,  especially 
on  the  chapel  side :  that  on  the  ambulatory 
side  is  out  of  the  reach  of  predatory  hands. 

The  lower  portion  or  stage  is  divided 
into  three  compartments  or  recesses,  the 
outer  ones  trefoiled.  Traces  of  hinges 
still  remain  and  suggest  aumbries  where 
the  precious  relics,  of  which  this  King  was 
unusually  fond,  or  else  the  rich  ornaments 
used  in  connection  with  the  Confessor's 
shrine  may  have  been  kept.  In  the  wall 
at  the  back  of  each  recess  is  a  cross 
formed  of  mosaic.  Similar  recesses  ap- 
pear in  various  Roman  churches  and  under 
the  altar  of  St.  Giorgio  in  Velabro  is  seen 
a  Confessio  with  inlaid  work  and  Cosmati 
ribbon  work  on  twisted  columns.  The 
plan  of  this  tomb  was  doubtless  borrowed 
from  Italy  either  by  the  artist  employed 
in  the  Cosmati  work  or  by  Edward  I,  who 
must  have  seen  many  such  designs  in  the 
course  of  his  travels. 

The  chest  In  the  second  stage  contains 
the    King's   body.     Dean   Stanley   caused 

293 


Westminster  Abbey 

the  outer  cover  to  be  removed  and  an  Inner 
coffin  was  revealed  "of  splendid  oak, 
smoothly  worked,  covered  with  rich  crim- 
son cloth  of  gold :  the  iron  chains  and  rings 
by  which  the  coffin  was  lowered  into  the 
tomb  still  remaining."  This  chest  has  on 
its  sides  a  broad  polished  slab  of  red  por- 
phyry, fastened  In  place  by  Purbeck  ros- 
ettes and  was  once  decorated  with  a  great 
profusion  of  porphyry  and  serpentine,  jas- 
per and  glass  mosaic  of  red  and  gold,  pre- 
senting a  very  splendid  appearance. 

The  effigy  of  bronze  rests  on  a  rich 
bronze  slab,  supported  at  the  angles  by  a 
pair  of  twisted  columns,  ornamented,  like 
those  on  the  shrine,  with  the  CosmatI 
work.  The  effigy  is,  however,  of  later 
date  than  the  tomb  and  was  wrought  by 
William  Torel,  an  Englishman  who  also 
made  the  effigy  of  Queen  Eleanor.  It  Is 
not  a  likeness  of  the  King,  being  much 
younger,  and  much  more  graceful  In  out- 
line than  was  the  body  of  the  stout  little 
monarch.  According  to  the  custom  of 
that  early  period,  the  effigy  was  simply  a 
conventional  royal  figure.  It  Is  wrought 
with  much  skill  and  one  notices  the  grace- 
ful disposition  of  the  hands  which  once 
held  sceptre  and  orb;  and  of  the  royal 
mantle  thrown  over  the  left  shoulder.  Its 
border  once  set  with  precious  stones.  The 
294 


other  Tombs  in  the  Confessor's  Chapel 

boots  are  enriched  with  fretwork  of  golden 
lions  and  the  same  decoration  appears  also 
on  the  two  pillows,  one  of  which  is  loz- 
enge-shaped. The  apex  of  an  arched 
recumbent  canopy,  like  that  of  Queen 
Eleanor's  tomb,  remains,  but  all  the  rest 
has  been  broken  away.  This  fragment  is 
sometimes  called  a  shelf  or  recess  for  a 
relic,  but  by  comparing  it  with  the  tomb 
to  the  east,  made  by  the  same  goldsmith 
at  the  same  time,  it  is  easy  to  understand 
its  original  meaning.  The  canopy  over 
the  tomb  is  of  wood,  of  later  date,  and 
was  decorated  on  its  under  surface  with 
painted  designs.  Two  steps  lead  up  to 
the  tomb;  on  the  lowest  are  seen  sockets 
for  the  posts  of  a  fine  iron  grille,  which 
once  protected  the  tomb  and  which  was 
made  in  Surrey,  where  ironworking  had 
become  almost  an  art,  by  an  English  smith 
named  Henry  of  Lewes.  An  inscription 
in  French  was  formerly  to  be  seen  on  the 
north  side  of  the  tomb,  recording  the  fact 
that  this  king  had  built  the  Abbey  church. 

The  small  monument  with  black  mar^ 
ble  slab  to  the  east  of  Henry  Ill's,  is  that 
of  the  little  Princess  Elizabeth  Tudor, 
daughter  of  Henry  VII,  three  years  of 
age,  who  died  in  1495,  more  than  four 
centuries  ago;  but  in  this  quiet  corner,  at 

the  feet  of  the  Abbey's  founder,  the  infant 

1 

295 


Westminster  Ahhey 

Princess  daily  claims  a  place  of  remem- 
brance. The  monument  was  brought  here 
evidently  from  the  Early  English  Lady 
chapel,  at  its  rebuilding,  since  the  child 
died  before  her  father  and  mother,  and 
before  the  new  chapel  was  undertaken. 
On  the  slab  once  rested  a  cradle  or  else 
an  effigy,  with  an  inscription,  the  metal 
attachments  for  which  remain.  The  Lady 
Elizabeth  died  at  Eltham  Palace,  ten 
miles  from  London,  and  had  "a  most 
splendid  funeral."  Her  body  was  placed 
in  a  draped  black  chair  and  so  drawn  to 
Westminster  by  six  horses.  The  black 
hearse  set  in  the  chair  had  a  border  of 
red  and  white  roses.  At  the  Abbey  gate 
the  Prior  met  the  cortege  with  great  cere- 
mony. 

The  tomb  of  Edward  I  (d.  1307),  son 
of  the  founder,  Henry  III,  a  plain,  high 
Purbeck  altar  tomb,  commemorating  one 
of  the  best  of  England's  sovereigns,  stands 
at  the  head  of  that  of  his  father,  the  two 
so  tenderly  attached  resting  thus  near  each 
other.  No  greater  contrast  could  be 
imagined  than  this  plain  tomb  of  the  son, 
bearing  no  suggestion  whatever  of  orna- 
ment or  rich  material,  and  the  handsome 
monument  of  the  father,  prepared  by  this 
son's  own  care.  Several  reasons  have 
been  assigned  for  the  present  almost  rude 

296 


other  Tomhs'  in  the  Confessors  Chapel 

appearance  of  Edward's  tomb :  ( i )  the 
unworthy  son,  Edward  II,  selfishly  spent 
on  himself  the  sums  hitended  for  a  fitting 
monument;  (2)  that  the  tomb  was  thus 
left  unadorned  on  account  of  the  biennial 
cering  ordered  by  the  King's  will,  or  (3) 
that  It  was  once  painted  and  gilded,  or 
else  Intended  to  be  covered  over  by  a  rich 
pall  and  may  have  had  an  effigy.  It  was 
protected  on  the  ambulatory  side  by  an 
Iron  grille  of  much  beauty,  having  at  one 
of  Its  angles  a  finely  carved  head  supposed 
to  represent  the  King. 

The  tomb  now  stands  three  feet  nine 
inches  high,  nine  feet  seven  Inches  long, 
and  rests  on  a  basement  of  two  steps. 
The  Inscriptions  on  the  north  side,  painted 
in  yellow  letters  on  a  black  band,  of  much 
later  date,  read:  Scotormn  malleus  (the 
hammer  of  the  Scots),  and  Pactum  Serva 
(keep  faith),  a  motto  to  which  the  King 
was  true. 

The  King  died  while  on  an  expedition 
to  Scotland,  July  7,  1307.  He  had  been 
taken  111  the  previous  October  and  with  his 
queen  sought  shelter  at  Lanercost  monas- 
tery, where  they  remained  five  months. 
Thinking  his  health  sufficiently  restored, 
he  advanced  towards  Scotland  but  again 
yielded  to  disease  and  died  at  Burgh-on- 
Sands.  As  he  lay  dying  he  ordered  that 
297 


Westminster  Abbey 

his  heart  should  be  removed  from  his  body 
and  sent  to  the  Holy  Land  in  charge  of 
seven  score  knights  who  were  to  serve 
there  for  one  year:  and  that  his  bones 
should  be  carried  by  his  son  from  place 
to  place,  at  the  head  of  the  army,  so  that 
he  might  lead  to  victory  and  that  they 
should  not  be  buried  until  Scotland  was 
utterly  subdued.  None  of  these  directions 
seem  to  have  been  carried  out.  The  body 
was  taken  to  Waltham  Abbey,  thence, 
after  tarrying  for  three  months,  was  con- 
veyed to  London,  resting  on  the  way,  (as 
did  the  body  of  Queen  Eleanor),  in  vari- 
ous churches.  The  last  night  was  spent 
in  the  church  of  the  Friars  Minor  in  Lon- 
don, and  thence  the  body  was  conveyed 
in  an  open  chariot  to  Westminster  Abbey 
in  the  presence  of  an  immense  concourse 
of  people  and  masses  were  sung  by  the 
Cardinal  of  Spain  and  five  bishops. 

The  King  was  twice  married,  first  to 
Eleanor  of  Castile,  who  died  in  1290,  and 
whose  death  he  is  said  to  have  mourned  as 
long  as  he  lived:  and  nine  years  later  to 
Marguerite  of  France,  he  being  sixty  and 
she  twenty.  The  pretty  young  French 
bride  employed  a  chronicler,  one  John  of 
London,  to  record  the  daily  life  of  the 
King  and  In  the  quaint  Latin  manuscript 
which  still  exists  much  of  personal  interest 

298 


Other  Toinbs  in  the  Confessor's  Chapel 

is  found.  Edward  I  Is  there  described  as 
having  "a  spherical  head,  round  eyes,  gen- 
tle and  dovelike  when  pleased,  but  fierce 
and  sparkling  with  fire  when  he  was  dis- 
turbed" :  his  chest  broad,  and  so  strong 
and  active  that  he  could  leap  into  his  sad- 
dle by  merely  putting  his  hand  on  it:  pas- 
sionately fond  of  hunting  and  hawking, 
seldom  ill-tempered.  After  his  corona- 
tion he  never  wore  his  crown,  it  is  said, 
and  went  about  in  the  plain  garb  of  a  citi- 
zen excepting  on  days  of  festival.  "What 
could  I  do  more  in  royal  robes,  father, 
than  in  this  plain  gabardine?"  he  once  said 
to  a  bishop  who  remonstrated  with  him 
on  his  attire  as  unkingly.  Edward  was 
six  feet  two  inches  tall  and  of  fine  pro- 
portions: the  epithet  Longshanks  was  ap- 
plied to  him  by  his  enemies,  but  he  had 
"the  long,  nervous  arms  of  a  swords- 
man." 

Both  the  King  and  his  second  Queen 
Marguerite  were  great  lovers  of  music  and 
in  the  King's  Household  Book  is  an 
account  of  money  paid  to  Walter  Lord, 
the  harper  of  Chichester,  because  he  had 
been  found  playing  on  his  harp  before  the 
tomb  of  St.  Richard  in  Chichester  Cathe- 
dral: and  another  record  of  paying  the 
harper  for  playing  while  the  king  was 
bled.  The  young  Queen  was  a  sincere 
299 


Westminster  Abhey 

mourner.  She  did  not  marry  again  and 
died  ten  years  later.  Her  two  sons  were 
Thomas,  Earl  of  Norfolk,  and  Edmund 
of  Woodstock. 

Matthew  Paris  records  the  strong 
affection  existing  between  Edward  I  and 
his  father  and  says  that  when  the  latter 
heard  that  his  son  would  go  on  a  crusade, 
he  was  moved  to  tears  by  his  son's  piety. 
Edward  is  said  to  have  died  with  words  of 
faith  in  God  on  his  lips.  As  the  founder, 
in  a  sense,  of  the  English  parliamentary 
system,  he  left  an  enduring  monument,  as 
did  his  father,  in  this  Abbey  church.  The 
coffin  was  opened  in  1774  and  found  to  be 
three  inches  thick.  The  King's  body  was 
dressed  in  royal  robes  with  a  dalmatic  of 
red  silk  damask  and  over  this  a  broad 
white  tissue  stole  was  crossed  on  his 
breast.  A  crimson  satin  mantle  was  fas- 
tened on  the  left  shoulder  with  a  fibula 
of  gems.  In  his  right  hand  was  a  long 
sceptre  with  a  cross:  in  the  left  a  rod,  the 
top  terminating  in  three  sets  of  oak  leaves 
of  green  enamel  surmounted  by  a  dove  in 
white  enamel.  The  outer  wrapping  was 
a  cloth  of  gold  and  within  he  wore  a  cloth 
of  linen  waxed,  each  finger  being  separ- 
ately enveloped  by  the  waxed  linen  and  the 
face  was  covered  in  the  same  manner  so 
that  the  features  could  be  distinctly  traced. 

300 


Other  Tombs  in  the  Confessor's  Chapel 

"The  resurrectors*  barbarously  embedded 
the  body,  vestures,  crown  and  sceptre  in 
pitch,  so  that  the  ashes  could  never  again 
be  violated.  The  cering  continued  so 
long  as  the  dynasty  lasted,  that  is,  until  the 
fall  of  Richard  II.  A  heavy  wooden 
canopy  once  covered  the  tomb  but  at  the 
midnight  funeral  of  the  Earl  of  Bath,  who 
was  burled  in  the  north  aisle,  a  mob  broke 
into  the  church  and  the  mourners,  seeking 
refuge  in  this  chapel,  defended  themselves 
with  rafters  which  they  broke  out  of  the 
canopy.  The  iron  railing  which  guarded 
this  tomb  was  destroyed  at  the  same  time. 
On  the  ledge  of  the  basement  of  the  tomb 
is  the  word  Regina,  which  suggests  an 
earlier  royal  occupant. 

Eleanor  of  Castile,  the  first  queen  of 
Edward  I  (d.  1290),  has  her  beautiful 
tomb  at  the  east  of  that  of  her  father-in- 
law,  Henry  III,  by  whom  she  was  ten- 
derly loved.  She  was  the  daughter  of 
Ferdinand  III  of  Castile,  and  of  that 
Joanna,  Countess  of  Ponthieu,  whom,  in 
his  youth,  Henry  III  had  set  aside  after 
marriage  negotiations  were  begun,  in  or- 
der to  marry  Eleanor  of  Provence. 
Eleanor  of  Castile  was  a  pretty  child  of 
ten  in  1254  when  Prince  Edward,  only 
ten  years  older,  came  to  Burgos  with  his 

*Wall. 

301 


Westminster  Abhej/ 

mother  to  celebrate  his  betrothal.  As 
both  the  mother  and  the  grandmother 
of  the  young  girl  had  been  set  aside  by  an 
English  sovereign,  Eleanor's  brother,  the 
Spanish  King  Alphonso  stipulated  that  if 
Prince  Edward  failed  to  come  to  Burgos 
for  his  bride  five  weeks  before  Michelmas 
Day,  1254,  the  contract  should  be  broken: 
and  this  time  the  prince  appeared. 

At  Bordeaux,  after  the  betrothal,  Hen- 
ry III  met  the  Queen  and  young  Eleanor, 
and  here  he  entertained  the  little  bride 
with  a  magnificent  banquet  on  which  he 
spent  30,000  marks.  The  child  seems  to 
have  remained  at  Bordeaux  to  complete 
her  education,  while  the  Prince  went  wan- 
dering about,  a  knight  errant,  "haunting 
tournaments."  In  1265,  the  young  Elea- 
nor, grown  to  be  a  beautiful  young  lady 
of  twenty,  landed  at  Dover,  and  was  re- 
ceived with  great  rejoicing  as  the  bride 
of  the  future  King:  but  for  this  last  hon- 
our she  waited  seven  years  longer.  She 
proved  a  wise  counsellor  to  the  high- 
spirited  prince,  often  disposing  him  to 
clemency  and  interceding  with  success  for 
those  who  had  incurred  his  displea- 
sure. Her  beautiful  children  delighted 
their  grandfather,  who  increased  her  reve- 
nues on  account  of  his  pleasure  in  her 
promising   family. 

302 


Other  Tombs  in  the  Confessor's  Chapel 

The  Queen  accompanied  the  Prince  to 
the  Holy  Land  on  his  crusade  in  1270, 
and  when  the  ladies  of  her  court  tried  to 
dissuade  her,  representing  the  perils  of 
the  journey,  she  replied,  "The  way  to 
heaven  is  as  near,  if  not  nearer,  from 
Syria  as  from  England,  or  my  native 
Spain." 

In  the  autumn  of  1290,  while  travelling 
to  join  the  King  in  Lincolnshire,  she  was 
seized  with  a  lingering  illness  at  the  man- 
sion of  Richard  de  Weston  at  Hardeby, 
five  miles  from  Lincoln.  A  physician  of 
the  King  of  Aragon  was  sent  for  and 
medicines  ordered  from  Lincoln.  The 
King  hastened  to  her  with  all  speed  and, 
according  to  some  authorities,  was  able  to 
reach  her  bedside  before  she  died,  Nov. 
28,  1290.  It  was  then  said  that  the  King 
had  lost  the  jewel  which  he  most  esteemed. 
He  determined  to  honour  the  last  jour- 
ney of  the  Queen  to  Westminster,  and 
himself  joined  the  procession  which  trav- 
elled on  to  London  for  thirteen  days.  In 
imitation  of  the  progress  of  the  funeral 
train  of  St.  Louis  to  St.  Denis  he  arranged 
for  the  erection  of  twelve  beautiful  sculp- 
tured stone  crosses,  one  at  each  place 
where  the  body  rested  for  a  night.* 

*St.    Louis,    or    Louis    IX    of   France,    it    will   be 
remembered,  had  gone  with  Edward  I  on  the  eighth 

303 


Westminster  Abhey 

The  last  cross  in  Eleanor's  honour  was 
erected  in  London,  and  from  the  King's 
affectionate  manner  of  calling  her  his 
chere  reine,  it  was  called  the  cross  of  La 
Chere  Reine,  long  since  corrupted  into 
Charing  Cross.  This  was  originally  of 
wood  but  was  replaced  by  one  of  stone 
and  was  finished  by  Roger  de  Cruntade 
some  time  after,  in  1293.  The  present 
cross  reproduces  the  original  so  far  as  pos- 
sible and  was  built  in  1863.  It  stands  70 
feet  high,  and  has  eight  statues  of  the 
Queen,  four  as  Queen,  with  royal  insignia, 
and  four  with  the  attributes  of  a  Christian 
woman.  An  angel  kneels  at  each  statue. 
The  original  stone  cross  was  demolished  in 
1647,  ^"<^  ^  P^^*t  of  its  stone  furnished 
paving  for  Whitehall.  It  probably  stood 
where  the  equestrian  statue  of  Charles  I  is 
now  seen,  at  the  lower  corner  of  Trafal- 
gar Square. 

The  sad  procession  was  met  near  Lon- 
don* by  the  entire  nobility  with  clergy,  just 
as  the  Queen  had  been  royally  welcomed 
five  and  thirty  years  before  when  she  came 

and  last  crusade,  in  1240;  and  at  Tunis  the  French 
king  had  died  of  pestilence.  His  body  was  taken  to 
Paris  and  thence  borne  on  men's  shoulders  all  the 
way  to  St.  Denis,  four  and  a  half  miles,  and  crosses 
were  set  up  in  his  honour  wherever  the  body  rested. 
They  were  intended  not  only  as  memorials  but  also 
to  remind  passers-by  to  offer  prayers  for  the  repose 
of  the   dead. 

♦Walsingham. 

304 


Other  Tombs  in  tJie  Confessor's  Chapel 

to  London  ai  bride.  The  funeral  was  cele- 
brated with  all  possible  honour  and  the 
King  liberally  endowed  the  Abbey  for 
masses  and  dirges  to  be  said  for  her  soul. 
Many  candles  were  lighted  at  her  tomb  and 
two  wax  tapers  were  ordered  to  be  kept 
burning  before  it  day  and  night,  perpetu- 
ally. The  Queen's  heart  was  given,  in  a 
rich  vase,  to  the  Church  of  the  Black 
Friars,  London:  her  entrails  to  Lincoln 
Cathedral,  where  a  beautiful  monument, 
with  effigy,  similar  to  that  in  the  Abbey, 
was  erected  and  has  lately  been  restored. 

The  tomb  of  the  Queen  was  simple, 
choice  in  design  and  beautiful  in  its  work- 
manship. Both  the  King  and  Queen  were 
conspicuous  patrons  of  the  arts  of  the 
period:  and  at  this  time  casting  in  bronze 
had  been  brought  to  great  perfection.  It 
was  therefore  fitting  that  the  tomb  should 
bear  the  finest  effigy  in  bronze  that  could 
possibly  be  made. 

The  effigy  is  better  seen  from  within  the 
chapel  than  from  the  aisle.  Like  that  of 
Henry  III,  it  is  supposed  to  be  conven- 
tional, and  can  scarcely  be  a  portrait  as  the 
Queen  was  probably  forty-six  years  old  at 
her  death  and  the  effigy  is  that  of  a  much 
younger  person.  The  features  are  serene 
and  lovely:  the  hair  long  and  curling,  the 
hands  noticeably  delicate,  and  refinement 

305 


Westminster  Abbey 

and  grace  appear  in  every  line.  The 
sleeves,  coronet  and  the  cord  of  the  mantle 
have  hollows  which  once  contained  pre- 
cious stones.  Flemish  coin  to  the  value  of 
476  florins  was  bought  to  supply  gold  for 
the  rich  gilt  covering  which  once  entirely 
overlaid  the  figure.  All  the  details  are 
similar  to  those  of  Henry  Ill's  effigy.  The 
bronze  slab  and  both  pillows  are  decorated 
in  black  enamel  with  a  square  diaper  pat- 
tern, each  square  containing  a  castle  (for 
Castile)  or  a  lion. 

For  the  two  beautiful  effigies  of  his 
father  and  his  Queen,  the  King  paid  over 
£1,700,  each  being  overlaid  with  gold,  and 
their  value  was  such  that  they  were  exhib- 
ited only  on  festival  occasions.  The  fur- 
nace for  casting  the  effigies  was  set  up  in 
St.  Margaret's  church  yard,  near  the 
north  transept  door,  and  the  work  was 
under  the  careful  and  personal  supervision 
of  the  King  himself.  The  marble  work 
was  executed  by  Richard  de  Cruntade,  who 
also  wrought  the  original  Charing  Cross, 
and  though  much  worn  away  by  contact 
with  many  passers-by — for  the  tomb  is 
now  more  than  six  centuries  old — it  is 
still  beautiful.  On  the  north  and  the  south 
face  Is  an  arcade  of  four  arches,  with 
crockets  and  finials,  and  in  each  is  repre- 
sented a  shield  depending  from  oak  leaves, 

306 


Other  Tombs  in  the  Confessor's  Chapel 

bearing  the  arms  of  Castile,  a  castle,  and 
of  Leon,  a  lion  rampant:  of  England,  three 
lions  passant,  giiardant,  and  of  Porthieu, 
for  her  mother,  three  bendlets  within  a 
bordure. 

The  table  is  of  Purbeck  with  moulded 
edges,  on  which  rests  a  brass  slab  bearing 
on  its  verge  the  inscription  in  Saxon  char- 
acters which,  translated,  reads :  Here  lies 
Eleanor,  formerly  Queen  of  England, 
wife  to  King  Edward,  son  of  King  Henry, 
daughter  of  the  King  of  Spain,  and  the 
Countess  of  Ponthieu:  upon  whose  soul 
may  God  for  His  pity  have  mercy."  The 
beautiful  recumbent  brass  canopy  over  the 
head  has  rich  crockets  and  finials  and  at 
the  angles  of  the  trefoiled  arch  appear 
two  cherubs  wrought  with  exquisite  skill. 
On  the  exterior  of  the  canopy  is  a  curious 
overlapping  ornament  which  suggests  the 
lotus  leaf.  The  sockets  on  the  slab  were 
for  the  insertion  of  candles  that  were  kept 
burning  on  the  tomb,  day  and  night,  for 
two  hundred  years,  it  is  said,  and  were  to 
have  been  perpetual.  The  fifteenth  cen- 
tury wooden  canopy  above  the  tomb  is 
richer  than  that  of  Henry  III,  and  re- 
placed an  earlier  one  of  much  greater 
beauty.  The  under  side  is  divided  into 
panels,  each  of  which  once  contained  a 
painting. 

307 


Westminster  Ahhey 

On  each  St.  Andrews  Eve,  the  anniver- 
sary of  her  death,  orje  hundred  candles 
were  to  be  lighted  at  this  tomb.  So  care- 
ful was  the  King  to  ensure  remembrance 
of  his  Queen,  that  each  Abbot  of  West- 
minster was  bound  by  solemn  oath,  before 
entering  on  his  office,  to  continue  these 
anniversary  services,  and  the  charter  re- 
quiring the  obit  was  read  aloud  in  the 
chapter  house  each  year.  To  all  who 
should  pray  for  the  Queen's  soul  within  the 
Abbey,  indulgence  was  given  for  five  years 
and  215  days. 

When  Henry  V's  chantry  was  erected, 
the  foot  of  the  Queen's  tomb  was  built 
over  and  in  part  concealed  by  sculptured 
work.  The  whole  structure,  except  the 
effigy,  appears  in  its  full  extent  and  is 
much  more  interesting  from  the  aisle  than 
from  within  the  chapel. 

The  Grille  is  famous  among  the  iron 
art  products  of  this  century  and  is  known 
as  the  Eleanor  Grille.  It  is  the  delicate 
and  beautiful  wrought  iron  work  of  an 
English  blacksmith,  Thomas  de  Leghton, 
the  pattern  being  of  scrolls  and  foliage 
intermingled,  and  small  heads  of  animals. 
There  are  eleven  principal  divisions  of  the 
scroll  work,  each  of  a  different  design,  and 
the  whole  very  much  resembles  a  grille 
at  St.   Denis  which  the  artist  may  have 

308 


Other  TomhSi  in  the  Confessor's  Chapel 

seen.*  Rich  ironwork  is  said  to  have  cul- 
minated, in  England,  in  this  Eleanor 
Grille.  "A  peculiar  treatment  of  flowers 
and  leaves  sprang  up  in  this  century  in 
imitation  of  the  ornaments  which  were 
being  carved  in  wood  or  stone,  or  painted 
on  walls  or  used  in  stained  glass.  Dies 
made  of  iron  were  carved  out  into  which 
the  hot  iron  was  beaten,  thus  taking  the 
impress  of  the  carved  flower  or  leaf  by  the 
same  kind  of  process  as  a  seal  is  made, 
except  that  the  hot  iron  is  laid  upon  the 
swage  or  die  and  beaten  into  it."t 

The  arcade  on  the  base  of  the  tomb  on 
the  aisle  side  retains  its  six  shields  of  arms, 
like  those  on  the  south  side. 

The  Tomb  and  Chantry  of  Henry  V. 
The  entire  east  end  of  the  Confessor's 
chapel  is  overlaid  by  the  splendid  sculp- 
tured stone  chantry  screen  and  tomb  of 
Henry  V,  the  victor  of  Agincourt  (d. 
1422),    one    of   the   finest    royal    chapels 

*J.  Starkie  Gardiner's  "Ironwork,"  p.  81. 

tAt  the  Church  of  All  Saints  at  Leighton  Buzzard 
is  a  very  handsome  hinge,,  of  almost  the  same  style 
and  workmanship  as  this  grille  and  very  probably 
made  by  the  same  hand.  "The  difficulty  of  forging 
straight  bars  into  such  perfect  curves  can  scarcely 
be  appreciated  by  those  who  have  never  attempted 
to  'bend  the  stubborn  iron':  and  then  to  weld  them 
together  without  distortion  involves  not  only  dex- 
terity of  hand  but  singular  truth  of  eye  as  well." — 
.Wyatt's  Metal  Work,  p.  3. 

309 


Westminster  Abbey 

in  Europe,  though  the  tomb  itself  is  sur- 
passed by  many  within  and  outside  of  the 
Abbey. 

Its  plan;  considerably  resembles  that  of 
a  gateway  to  a  mediaeval  castle,  the  tomb 
with  effigy  resting  under  the  central 
entrance  arch:  while  the  octagonal  towers 
containing  each  a  stone  staircase  to  the 
chapel  on  the  floor  above,  form  some 
resemblance  in  design  to  the  letter  H, 
every  part  of  the  external  surface  of 
towers  and  chantry  being  richly  concealed 
by  sculptured  niches,  figures  and  carved 
groups  enriched  with  various  emblems 
and  devices.  But  this  is  only  the  west 
face  of  the  monument.  The  main  por- 
tion of  the  chapel  is  continued  back  of 
the  two  towers,  above  the  ambulatory  at 
the  east,  the  floor  of  this  chapel  forming 
a  bridge  over  the  aisle  to  the  vestibule  of 
Henry  VII's  chapel,  but  having  no  con- 
nection with  the  latter.  The  outer  walls 
of  the  sides  of  the  chantry  chapel  are 
seen  only  from  the  aisles.  The  entire 
monument  cannot  be  seen  from  any  one 
point,  and  as  a  work  of  art  is  far  more 
successful  in  its  sumptuous  detail  than  in 
its  general  design.  As  favourable  a  point 
for  study  as  any  is  near  the  head  of 
Henry  Ill's  effigy  on  the  north  side  of 
the  Confessor's  chapel. 

310 


The  Tomb  of  Queen  PiiiLirpA;  pakt  of  TTfxry  Vs  Chantry  Ciiaimx 


Other  Tomhsf  in  the  Confessor's  Chapel 

Henry  V  was  one  of  the  best-beloved 
and  most  admired  of  all  the  early  Eng- 
lish sovereigns.  He  was  a  graceful, 
handsome,  agile  knight  with  dark,  spark- 
ling eyes,  rosy  complexion  and  a  haughty 
curl  to  his  lips,  and  since  he  died  in  his 
thirty-fourth  year  left  no  remembrance  of 
anything  but  youthful  energy.  He  was 
of  such  marvellous  great  strength*  and 
so  passing  swift  in  running,  that  he,  with 
two  of  his  lords,  without  hands,  bow  or 
other  engine  would  take  wild  buck  or  doe 
in  a  large  parke."  Fuller  writes  with 
admiration  of  his  strength  and  hardihood, 
"neither  shrinking  in  cold  nor  slothful  in 
heat,  going  commonly  with  his  head  un- 
covered: the  wearing  of  armour  no  more 
cumbersome  to  him  than  a  cloak." 

Enthusiastically  applauded  as  a  mili- 
tary hero,  the  glamour  of  his  romantic 
history  still  lingers  about  the  name  of 
the  second  Lancastrian  King.  He  was 
the  eldest  son  of  Henry  IV  and  Mary  de 
Bohun,  the  daughter  and  co-heir  of  the 
Earl  of  Hertford,  and  a  lad  of  six  or 
seven  when  his  mother  died.  His  early 
taste  for  music — he  played  on  the  harp 
and  organ  and  composed  music — was 
fostered  by  his  grandmother,  the  Coun- 
tess of  Hertford,  and  at  Oxford,  where 
♦Thomas  dg  Elmham. 

311 


Westminster  Abbey 

he  came  under  the  guidance  of  Henry 
Beaufort.  But  at  sixteen  we  find  him 
fighting  for  his  father  at  Shrewsbury,  and 
his  career  in  the  next  following  years  was 
rather  that  of  a  gay  prince  indulging  in 
the  follies  and  madcap  pranks  of  youth. 
The  story  of  his  father's  death,  and  of 
the  Prince  appropriating  the  crown  while 
he  yet  lived  are  well  known :  as  is  the 
excellent  character  which  the  young  king 
bore  after  the  responsibilities  of  manhood 
and  kingship  fell  on  him. 

The  brilliant  victory  of  Agincourt  in 
141 5,  when  he  was  twenty-eight,  and  had 
been  king  but  two  years,  was  the  central 
event  of  his  nine  years'  reign.  He  was 
enthusiastically  received  on  his  return  to 
England  and  marched  in  solemn  proces- 
sion, but  simply  dressed  as  a  mailed  war- 
rior, to  Westminster  Abbey,  to  celebrate 
his  victory  by  a  service  of  thanksgiving. 
After  a  long  and  persistent  endeavor  to 
obtain  a  very  large  dowry  from  her 
father,  he  was  married  to  Katherine  of 
Valols  in  1420,  and  their  strange  wedding 
journey  was  in  continuation  of  the  war 
which  he  was  carrying  on  with  France 
with  almost  unparalleled  cruelty  and 
bloodshed.  He  never  conquered  the 
whole  of  France,  hence  was  never  Its  king: 
but  by  the  Treaty  of  Troyes  In  1420,  he 

312 


Other  Tombs  in  the  Confessor's  Chapel 

was  to  become  king  on  the  death  of 
Charles  VI,  the  father  of  his  queen,  and  he 
ruled  as  regent. 

Two  years  later,  Henry  V  died  at  the 
castle  of  Vincennes,  August  31,  1422  "a 
sore  and  a  fervent  maladie  him  assaulted 
and  from  day  to  day  him  grievously 
vexed."  His  beautiful  young  Queen  was 
with  him  at  the  last  and  the  King  begged 
his  brother  to  comfort  her,  "the  most 
afflicted  creature  living."  His  body  was 
embalmed  with  spices,  anointed  with 
precious  balsams,  wrapped  in  fine  linen, 
cased  In  lead  and  then  deposited  in  a 
wooden  coffin  covered  with  silk.  An  effi- 
gy of  prepared  leather,  curiously  painted 
to  resemble  the  King  and  dressed  In  royal 
robes  with  purple  mantle  furred  with 
ermine,  bearing  sceptre  and  orb,  and 
wearing  a  costly  crown,  was  placed  In  the 
chariot  above  his  body,  the  face  upturned, 
and  the  chariot  drawn  by  four  great 
horses  whose  trappings  bore  the  arms  of 
France  and  of  England.  The  Queen,  but 
two  years  a  wife,  and  her  ladles,  followed 
the  funeral  train  at  a  meek  distance  of 
two  miles,  "but  keeping  her  husband's 
corpse  in  view."  Four  hundred  men-at- 
arms  In  black  armour,  their  lances  point- 
ing downward,  rode  on  black  chargers 
next  the  body,     and    a    great     company 

313 


Westminster  Ahhey 

clothed    In    white,    bearing    wax    torches 
lighted,  encompassed  the  procession.* 

So  by  Abbeville,  Hesdin,  Montreuil, 
Boulogne,  Calais  and  Dover,  they  went 
on,  approaching  London,  where  fifteen 
bishops  and  as  many  mitred  abbots  with 
a  great  company  of  priests  and  people 
met  them :  and  all  the  way  from  Black- 
heath  the  priests  chanted  orisons  for  the 
King's  soul  and  each  householder  stood  at 
his  door  bearing  a  lighted  torch.  "Never 
had  a  royal  funeral  been  so  royal. "f 

The  King's  Will,  dated  "in  the  walled 
city  of  Southampton,  1415,"!  directed 
that  twenty  thousand  masses  be  said  for 
his  soul :  that  his  body  be  buried  in  the 
Confessor's  chapel  to  the  east,  and  that 
over  the  tomb  be  made  a  high  place  to 
be  ascended  by  steps  on  one  side  and 
descended  at  the  other,  in  which  high  place 
were  to  be  exhibited  the  relics  which  had 
formerly  been  shown  at  the  east  end  of 
the  Confessor's  chapel.  An  altar  was  to 
be  founded  here,  the  altar  of  the  Annun- 
ciation, where  three  masses  were  to  be  said 
each  day  for  the  repose  of  the  King's  soul. 
The  tomb  was  built  under  the  supervi- 
sion of  Henry's  queen,  "handsome  Kate" 

*Stowe. 

tWall. 

$Rymer*s  Foedera. 


Other  Tomhs  in  the  Confessor's  Chapel 

of  Valois.  The  name  of  the  builder  is 
not  stated,  but  as  Henry's  architect-in- 
chief  was  Alexander  of  Beneval  who 
erected  the  later  portion  of  St.  Ouen  at 
Rouen,  it  is  not  unlikely  that  the  design 
and  direction  of  the  splendid  tomb  are  due 
to  him. 

It  is  of  Purbeck,  with  traceried  sides, 
once  decorated,  it  seems  probable,  with 
sculptured  groups  of  alabaster  or  bronze. 
The  flat  panels  at  the  ends  may  have  con- 
tained paintings.  The  effigy  was  of  oak 
overlaid  with  silver  plates,  and  the  head, 
feet  and  hands  were  of  solid  silver.  As  it 
was  prepared  under  the  Queen's  direction, 
no  doubt  the  effigy  was  a  portrait.  All 
the  silver,  including  the  head,  was  broken 
off  and  carried  away  in  Henry  VIH's  time, 
and  what  now  remains  is  little  more  than 
a  shapeless  block,  badly  warped.  The 
shield  and  helmet  which  are  suspended 
with  saddle  on  a  bar  high  over  the  tomb, 
long  thought  to  be  those  "which  did  affright 
the  air  at  Agincourt,"  were  only  a  part  of 
the  funeral  trappings.  The  iron  grille 
separating  the  tomb  from  the  Confessor's 
chapel  is  contemporary  ironwork  of  much 
interest.  The  design  is  of  small  squares, 
each  containing  four  trefoils  divided  by 
curious  pierced  bars.  The  entire  grille 
is   separated    into    twelve    compartments, 

315 


Westminster  Abbey 

painted  alternately  in  blue  and  red:  in  each 
blue  compartment  are  three  fleur-de-lis:  in 
each  red  one,  three  lions,  for  France  and 
England:  while  near  the  middle  of  the 
gates  was  placed  a  row  of  swans  for  the 
de  Bohuns,  his  mother's  family  and  a  row 
of  antelopes,  only  fragments  of  which 
remain. 

That  portion  of  the  monument  which 
can  be  seen  within  the  Confessor's  chapel 
is  by  far  the  most  beautiful  and  interest- 
ing. It  consists  of  two  octagonal  turrets, 
facing  west  and  containing  spiral  stair- 
cases, as  already  described,  the  west  face 
of  the  entrance  arch,  being  between  these 
two  turrets,  and  the  entire  surface  covered 
with  figures  in  richly  canopied  niches.  In 
the  nine  large  niches  of  the  turrets  are 
life-size  figures  of  various  saints  and  bene- 
factors of  the  Abbey,  with  smaller  saints 
and  angels,  and  numerous  emblems  carved 
on  the  buttresses  and  pillars.  All  but 
three  of  the  original  statues  remain.  The 
niches  are  pierced  at  the  back  with  win- 
dow-slits which  light  the  staircases  leading 
to  the  chantry  above,  the  ascent  being 
made,  as  the  King's  will  directed,  on  one 
side,  and  the  descent  on  the  other.  The 
sides  of  the  stairway  within  are  richly 
panelled  and  the  inner  sides  of  the  small 
doors     are     beautifully     wrought.     The 

316 


Other  Tomhs^  in  the  Confessor's  Chapel 

small  steps  to  each  turret  door  are  deeply 
worn  by  the  knees  of  pilgrims  going  up  to 
the  chantry  to  view  the  relics.  Among 
the  interesting  statues  notice  over  the 
south  door  the  figure  of  a  saint  or  sover- 
eign, with  gentle  face,  long  robes  and 
beard,  probably  the  Confessor:  and  on  the 
opposite  side,  over  the  door,  a  venerable 
man  in  pilgrim's  garb,  probably  St.  John: 
one  in  deacon's  vestments  is  probably  St. 
Stephen:  St.  Barbara  and  St.  Catherine  are 
also  represented:  and  on  pedestals  north 
of  the  south  door  and  soutlTof  the  north 
door,  two  figures,  a  bishop  or  a'  mitred 
abbot,  holding  up  the  folds  of  a  long  robe, 
probably  St.  Wulstan  and  St.  Dunstan. 
Two  figures  above  holding  models  of 
a  church  probably  represent  the  two 
founders  and  church  builders:  a  figure  on 
the  north  side  of  the  north  tower  is  called 
St.  Margaret,  with  the  dragon  at  her  feet. 
All  the  details  of  these  interesting  figures 
are  well  worth  study. 

The  little  chantry  chapel  directly  over 
the  King's  tomb  was  the  first  in  the  Abbey 
given  by  a  king  and  was  placed  high  in 
order  to  attract  attention,  sympathy  and 
prayers  for  the  king's  soul ;  also  that  the 
priests  officiating  at  the  altar  might  be 
seen  by  the  people  in  the  church  below. 
To  the  support  of  its   altar,    called  the 

317 


Westminster  Ahhey 

altar  of  the  Annunciation,  the  king  left 
£ioo  and  provided  that  three  monks 
should  daily  say  three  masses  for  his  soul. 
To  it  also  he  bequeathed  rich  plate  and 
vestments  and  ordered  that  eight  wax  can- 
dles, each  to  weigh  eight  pounds,  should 
be  kept  burning  during  mass  and  that  for 
a  whole  year  thirty  poor  people  were  to 
recite  in  the  chapel  the  Psalter  of  the  Vir- 
gin, closing  with  these  words:  "Mother 
of  God,  remember  thy  servant,  Henry, 
who  puts  his  whole  trust  in  Thee."*  The 
chantry  is  not  now  shown  to  visitors, 
because  the  two  old  stone  stairways  in  the 
towers  have  become  insecure.  Looking 
over  the  west  wall  of  the  parapet,  before 
the  present  pall  was  placed  over  the  Con- 
fessor's shrine  below,  the  coffin  of  the 
Confessor  could  be  seen  quite  plainly. 

At  the  east  end  of  the  chantry  stands 
the  altar  on  a  platform  of  two  steps,  hav- 
ing its  early  Purbeck  slab  marked  with  the 
five  crosses  for  the  five  wounds  of  Christ. 
This  was  long  displaced  and  formed  a 
part  of  the  pavement.  Within  this  altar 
now  rest  the  bones  of  Katherine  of  Valois 
(d.  1437),  the  queen  of  Henry  V,  young- 
est daughter  of  the  French  king,  but  two 
years  married  to  the  English  king.  She 
had  her  place  of  burial  made  at  last  in  this 

*RyTner's  Foedera. 


Other  Tombs\  in  the  Confessor's  Chapel 

beautiful  chantry  which  was  erected  by  her 
own  loving  care :  but  only  since  Dean  Stan- 
ley's time  has  she  had  honourable  burial 
here. 

At  the  death  of  Henry  V  in  1422, 
Queen  Katherine,  left  with  her  infant  son 
(Henry  VI),  numbered  in  her  retinue  a 
brave  and  handsome  young  Welsh  soldier 
named  Owen  Tudor,  who  had  been  pro- 
moted to  be  one  of  the  squires  of  the 
king's  body  on  account  of  his  valour  at 
Agincourt.  This  office  he  continued  to  the 
child-king,  keeping  guard  over  the  royal 
infant  and  also  serving  as  Clerk  of  the 
Queen's  Wardrobe  and  keeper  of  her 
jewels.  Not  unnaturally,  the  beautiful 
French  widow  and  the  young  soldier  be- 
came mutually  interested  and  they  were  at 
length,  not  later  than  five  or  six  years 
after  the  king's  death,  married  privately. 
Four  children  were  born  to  them:  the 
eldest  being  Edmund  Tudor,  the  father  of 
Henry  VIL* 

When  the  marriage  of  the  Queen  and 
Owen  Tudor  became  known,  the  nation, 
indignant  at  the  mesalliance,   imprisoned 

*The  other  children  were  Jasper,  created  Earl  of 
Pembroke  by  his  half-brother,  Henry  VI,  a  helpful 
uncle  to  his  young  nephew,  Henry  VH :  Owen,  who 
became  a  monk  of  Westminster,  and  is  buried  in 
the  Poets'  Corner:  and  Margaret,  a  daughter  who 
died  in   infancy. 


Westminster  Ahhey 

Tudor  In  Newgate,  but  he  made  a  manly 
plea  before  the  young  king  and  was 
released.  Later,  he,  with  his  second  son, 
Jasper,  commanded  a  Lancastrian  army 
at  the  battle  of  Wakefield  and  was 
defeated  at  Mortimer's  Cross.  The  son 
retreated — the  father,  with  true  Welsh 
obstinacy,  it  Is  said,  refused  to  leave 
the  field,  was  imprisoned  and  later 
was  beheaded  in  Hereford  market-place. 
Though  his  birth  was  at  that  time  consid- 
ered obscure,  yet  there  seems  to  be  no 
doubt  that  Owen  Tudor  traced  his  line  to 
Theodore,  a  prince  of  North  Wales 
(Theodore  being  corrupted  to  Tudor  In 
the  English  pronunciation),  and  a  tradition 
exists  that  he  was  godson  of  the  famous 
chief  Glendower. 

In  1436,  when  suspicions  of  her  second 
marriage  became  current  In  the  Court, 
Queen  Katherlne  withdrew  to  the  Abbey 
of  Bermondsey,  "either  for  refuge  or 
under  some  constraint":  her  children  were 
taken  from  her  by  order  of  the  Council, 
to  her  very  great  distress  and  anguish  of 
mind:  her  infant  daughter,  Margaret, 
died.  Her  son,  Henry  VI,  though  king  of 
England,  was  but  a  lad  of  fourteen  and 
was  helpless  to  aid  his  mother:  her  hus- 
band was  In  exile  or  Imprisoned.  Thus 
bereft  of  children,  husband  and  home,  the 
320 


other  Tombs  in  the  Confessor's  Chapel 

unfortunate  queen  lost  courage,  fell  111  and 
died  in  1437.  The  pitying  nuns  attended 
her  faithfully  to  the  last.  The  Queen's 
body  lay  in  state  in  the  church  of  St.  Kath- 
erine's  by  the  Tower:  was  then  removed 
to  St.  Paul's  and  so  on  to  Westminster, 
and  was  buried  in  the  Early  English  Lady 
chapel,  probably  near  the  present  steps 
up  to  Henry  VII's  chapel,  which  would 
also  be  near  her  husband,  Henry  V.  An 
altar  tomb  was  later  erected  to  her  mem- 
ory by  her  son,  Henry  VI,  bearing  a 
Latin  epitaph. 

When  Henry  VII  was  buried,  or  at 
about  that  time,  for  some  reason  the 
Queen's  body  seems  to  have  been  ex- 
humed: and  being  found  in  a  remarkable 
state  of  preservation,  and  Henry  VIII 
showing  no  disposition  to  restore  her 
tomb  according  to  his  father's  intentions, 
the  body  was  carelessly  wrapped  to  the 
waist  in  a  piece  of  lead  taken  from  the 
roof  of  the  old  chapel  and  placed  in  a  rude 
box  having  a  loose  cover  and  thrust  into 
a  vacant  space  under  the  beautiful  chantry 
which  she  had  so  carefully  provided  for 
Henry  V.  In  this  lamentable  condition  it 
was  seen  and  handled,  for  more  than  three 
centuries,  by  any  one  who  chose  to  pay 
two  pence  for  the  privilege.  So  Weever 
321 


Westminster  Abbey 

describes  It*  in  the  time  of  Charles  I:  so 
Pepys,  after  the  Restoration,  writing  on 
his  birthday,  speaks  of  handling  the  body 
and  "kissing  a  queen."  So  late  as  1793, 
it  was  still  an  object  of  vulgar  exhibition: 
but  the  attention  of  the  Dean  and  chapter 
being  called  to  the  matter  by  Hutton's 
"Tour  Through  the  Sights  of  London," 
the  poor  remains,  rifled  and  stolen  until 
only  a  small  part  of  the  original  remained, 
were  transferred  to  the  Vllllers  vault  In 
the  chapel  of  St.  Nicholas.  Thence  they 
were  finally  removed,  In  1878,  by  Dean 
Stanley's  kindly  care,  at  the  instance  of 
Queen  Victoria,  to  an  honourable  resting- 
place  under  the  altar  of  Henry  V's  beauti- 
ful chantry,  where  they  now  remain, not  far 
from  the  original  place  of  their  sepulture. 
The  reredos  of  the  altar  in  Henry  V's 
chapel  consists  of  seven  lofty  canopied 
niches  containing  large  figures,  three  on 
either  side  of  a  central  group,  now  de- 
stroyed, representing  the  Crucifixion,  with 
the  Virgin  and  St.  John :  St.  George  of 
England;  St.  Denis  of  France  (the  king 
having  possessions  In  both  countries)  :  St. 
Edmund  and  St.  Gabriel.  A  richly  dec- 
orated closet  or  press  Is  seen  In  the  wall 
on  either  side  of  the  chantry,  opening 
from     above     by     sliding     doors,     now 

*Weever's    Funeral    Monuments. 
322 


Other  Tombs'  in  the  Confessor's  Chapel 

removed,  in  which  relics  and  probably  rich 
vestments  were  stored.  There  were  spikes 
in  the  wall  on  either  side  of  these  recesses 
where  candles  were  placed  to  be  lighted 
when  the  relics  were  exposed  to  view. 

It  will  be  remembered  that  an  altar  with 
a  place  for  relics  formerly  stood  at  the 
east  end  of  the  Confessor's  chapel  below, 
which  was  displaced  when  this  chapel  was 
built  and  the  relics  were  then  transferred 
to  this  chantry,  and  arrangements  made 
for  displaying  them  to  pilgrims  as  they 
mounted  the  little  stone  stairways  in  the 
towers.  Among  the  relics  thus  carefully 
treasured  and  exhibited  were  the  Blessed 
Virgin's  girdle  wrought  by  her  own  hands : 
a  stone  bearing  the  imprint  of  our  Lord's 
feet  when  he  rose  from  the  dead:  one  of 
the  six  jars  in  which  water  was  made  wine 
at  Cana  of  Galilee  :  frankincense  offered  by 
the  Magi,  the  gift  of  the  Confessor:  a 
piece  of  the  seamless  robe,  the  scourge, 
the  sponge,  and  bread  blessed  by  our  Lord 
at  the  Last  Supper:  and  a  piece  of  the  man- 
ger in  which  Christ  was  born,  said  to  be 
the  gift  of  Sebert. 

The  outer  walls  of  this  chapel  as  seen 
from  the  ambulatory  are  carved  with 
ranges  of  figures  and  groups  under  rich 
canopies  and  with  various  emblems,  arms 
and  devices.     The  central  group  on  each 

Z22, 


Westminster  Abbey 

side  is  a  Coronation  Scene,  set  within  a 
square  panel,  with  several  attending  fig- 
ures, probably  courtiers,  in  smaller  niches. 
The  group  on  the  north  side  is  supposed 
to  represent  the  coronation  of  Henry  V  in 
England:  that  on  the  south  may  represent 
that  of  his  queen.  In  a  hollow  moulding 
at  the  base  appear  various  emblems  and 
arms,  including  the  swan  and  antelope, 
emblem  of  the  de  Bohuns,  his  mother's 
family:  the  flaming  beacon  or  cresset  light, 
adopted  by  the  King  as  a  badge  after  his 
coronation,  "indicating  that  he  would 
strive  to  be  a  light  and  guide  to  his  people 
to  follow  him  in  all  virtue  and  honour," 
or  else  to  indicate  that  he  would  now  live 
a  pure  and  holy  life:  the  white  hart  of 
Richard  II,  chained:  and  a  stork  holding  a 
fish.  The  figures  on  the  north  side  are 
better  preserved  than  those  on  the 
south. 

On  the  north  side  of  the  Confessor's 
chapel,  as  we  have  seen,  the  tombs  of  the 
family  of  Henry  III  are  grouped  around 
the  King:  on  the  south  side  of  the  chapel 
rest  Henry  Ill's  great-grandson,  Edward 
III,  with  his  Flemish  queen,  Philippa: 
Richard  II,  grandson  of  Edward  III,  with 
his  first  queen,  Anne  of  Bohemia;  and 
Thomas  of  Woodstock,  the  youngest  son 
of  Edward  III,  but  with  no  monument. 

324 


Other  TomhS'  in  the  Confessor's  Chapel 

Queen  Phllippa  of  Hainhault  (d.  1369), 
queen  of  Edward  III,  has  her  beautiful 
tomb  in  the  eastmost  bay  of  the  south  side, 
overlooking  the  south  ambulatory.  Sir 
John  Froissart,  for  several  years  her  sec- 
retary, tells  the  romantic  story  of  her  early 
attachment  to  the  King  when  he  visited  her 
father's  court,  a  prince  of  15,  with  his 
harassed  mother,  Isabella  of  France,  seek- 
ing refuge  from  her  enemies.  The 
Count  of  Hainhault  had  four  daughters, 
but  it  was  Philippa,  "of  roseate  hue  and 
beauty  bright,"  who  won  his  affection:  and 
in  1327  Bishop  Adam  de  Orleton,  being 
sent  over  to  select  a  wife  for  the  young 
King,  happily  and  doubtless  not  without 
some  private  suggestion  from  the  King, 
made  choice  of  the  beautiful  Philippa. 
They  were  married  at  York  minster, 
Edward  being  in  the  midst  of  his  Scotch 
wars,  but  the  Queen's  coronation  was 
deferred  for  two  years. 

The  rosy,  perhaps  buxom,  Flemish  girl 
proved  a  kindly,  affectionate  and  wise 
queen,  and  Froissart  describes  her  as  the 
most  courteous,  liberal  and  noble  lady  that 
reigned  in  her  day.  Of  her  many  deeds 
of  generosity  and  courage,  two  only  may 
be  mentioned.  During  the  King's  absence 
at  the  siege  of  Calais,  the  Scotch  began 
secretly  to  prepare  for  an  invasion  of  Eng- 

325 


Westminster  Abhey 

land.  When  this  came  to  the  Queen's 
knowledge,  she  collected  all  the  forces  she 
could  command,  and  marching  northward 
defeated  the  enemy  at  Neville's  Cross. 
Before  the  battle  she  rode  among  the 
troops  on  her  white  charger,  with  her 
splendid  retinue,  displaying  the  wealth 
of  her  country,  and  encouraged  the  army 
for  the  contest.  She  took  King  David 
prisoner,  and  having  provided  for  the 
defense  of  Durham  and  York,  set  out 
for  London,  put  her  royal  prisoner  in  the 
Tower,  and  went  over  to  Calais  to  report 
her  transaction  to  the  King. 

The  story  of  the  six  citizens  of  Calais 
who  offered  themselves  to  the  King  in 
order  to  save  the  town,  and  came,  as  he 
directed,  into  his  presence  barefooted 
and  bareheaded,  with  halters  around  their 
necks,  bringing  the  keys  of  the  town,  is 
very  well  known.  The  King  at  once 
ordered  them  to  be  beheaded:  but  the 
Queen,  on  her  knees,  with  tears  in  her 
eyes,  entreated  him  to  spare  them.  "Ah, 
gentle  sir,"  she  said,  "since  I  have  crossed 
the  sea  with  great  danger  to  see  you,  I 
have  never  asked  one  favour:  now  I  most 
humbly  ask  as  a  gift,  for  the  sake  of  the 
Blessed  Mary  and  for  your  love  to  me, 
that  you  will  be  merciful  to  these  six  men." 
The  King  could  do  no  less  than  pardon 

326 


Other  Tomhs  in  the  Confessor's  Chapel 

them :  and  the  Queen  provided  them  with 
fresh  clothing  in  place  of  that  long  worn: 
gave  them  a  bountiful  dinner,  and  six 
nobles  to  each  man,  and  had  them  escorted 
out  of  the  camp  in  safety.*  However, 
she  kept  her  Scotch  king  a  prisoner  in  the 
tower  for  nine  long  years. 

A  lasting  and  substantial  benefit  which 
the  Flemish  Queen  conferred  upon  her 
adopted  country  was  the  introduction,  at 
Norwich,  of  a  company  of  Flemish  cloth 
weavers  of  wool,  with  workers  of  all 
sorts  necessary,  an  industry  which  proved 
of  the  greatest  possible  advantage  to  the 
people,  furnishing  employment  to  a  large 
proportion  of  the  inhabitants  of  Norwich 
for  five  centuries :  and  she  also  introduced 
the  coal  industry  in  Newcastle.  The  Queen 
was  a  friend  of  Chaucer,  who  had  married 
Philippa  Roet,  daughter  of  a  knight  attend- 
ing her  from  Hainhault,  and  mentioned 
in  the  Queen's  will.  Her  son,  John  of 
Gaunt,  married  Catherine  (Roet)  Swyn- 
ford  for  his  third  wife.  Her  oldest  son, 
the  Black  Prince,  died  before  his  father: 
hence  no  son  of  hers  reigned  in  England, 
the  successor  of  Edward  III  being  her 
grandson,  Richard  II.  Queen's  College, 
Oxford,  founded  by  her  confessor,  was 
named  for  this  queen. 
*Froissart. 


Westminster  Ahhey 

Queen  Phillppa's  tomb  on  the  south 
side  of  the  chapel  at  the  east  was  designed 
by  a  Flemish  artist,  Hawkin  de  Liege,  and 
is  one  of  the  most  beautiful  in  the  Abbey, 
though  badly  marred.  The  foot  of  it,  like 
that  of  Queen  Eleanor  in  the  opposite 
aisle,  is  partly  concealed  by  the  sculptured 
work  of  Henry  V's  chantry.  Blore  said 
of  it :  "In  point  of  style  and  beauty,  almost 
without  parallel."  Much  of  it  was 
wrought  during  the  Queen's  life,  for  a  rec- 
ord exists  of  £133  being  paid  to  the  artist 
in  1366:  but  it  was  not  complete  with  all 
its  beautiful  series  of  alabaster  figures  un- 
til ten  years  after  her  death,  when  John 
Orchard,  "latiner,"  received  £5  for  mak- 
ing divers  figures  of  angels  for  the  canopy. 
The  iron  grille  which  protected  it  was 
purchased  at  second-hand  from  Bishop 
Michael  of  Norbury's  tomb  in  St.  Paul's. 

It  is  an  altar  tomb  of  black  marble  with 
effigy  andi  decorations  of  alabaster  and  a 
wooden  canopy.  The  alabaster  effigy 
shows  the  plain  but  smiling  face  of  a  lady 
in  middle  life,  of  full  habit,  which,  some- 
what unfairly,  represents  the  Queen  after 
illness  robbed  her  of  beauty,  and  is  the 
earliest  portrait  effigy  in  the  Abbey.  The 
robe  and  mantle  are  long,  with  long 
sleeves  seamed  with  pearl:  the  hair  is 
rolled  at  the  sides  and  a  reticulated  head- 

328 


Other  Tomhs  in  the  Confcssor^s  Chapel 

dress  is  an  Interesting  feature  of  this  four- 
teenth century  lady's  costume.  The  head 
rests  on  a  draped  cushion,  deeply  In- 
dented, the  drapery  once  held  by  two 
angels  whose  little  stone  hands  still  remain, 
one  of  each.  A  Hon  and  a  lioness  are  at 
the  feet.  The  beautiful  recumbent  can- 
opy of  alabaster  is  supported  by  traceried 
pillars  which  once  contained  seventy  small 
figures  of  alabaster  "all  in  sweetly  carved 
niches,"  representing  relatives  of  the 
Queen  and  King;  and  when  entire  must 
have  formed  a  very  interesting  feature  of 
this  handsome  tomb.  They  included  the 
Queen's  father,  mother,  husband,  her 
daughter,  Margaret,  the  Countess  of 
Pembroke,  a  friend  of  Chaucer:  her  son, 
the  Black  Prince,  and  his  wife,  the  fair 
Joan  of  Kent:  her  sons,  Lionel,  John  of 
Gaunt,  Edmund  and  Thomas,  with  others 
of  more  remote  kinship;  and  at  her  feet 
the  five  kings  of  Navarre,  Bohemia,  Scots, 
Spain  and  Sicily,  with  all  of  whom  she  was 
allied:  also  small  angels.  A  single  mu- 
tilated alabaster  figure  remains  to  bear 
true  witness  to  the  beautiful  workmanship 
of  Hawkin  de  Liege,  also  fragments  of  the 
coloured  glass  which  decorated  the  trac- 
ery of  the  small  canopies.  The  frag- 
ments of  the  figure  were  found  by  Scott 
during  a  restoration  and  put  together  as 

329 


Westminster  Abhey 

they  now  are.  The  entire  tomb  was  pro- 
fusely decorated  with  gold  and  colour 
and  with  coloured  paste.  The  design  of 
the  tomb  is  perhaps  better  understood 
from  that  of  the  king  in  the  next  bay, 
which  has  figures  of  more  enduring  ma- 
terial. The  flat  wooden  canopy  is  of 
later  date  and  was  painted  underneath. 
The  Queen  chose  for  her  motto,  "Iche 
wurde  muche."     (I  toil  much.) 

The  tomb  of  Edward  III,  who  died  in 
1377,  the  eldest  son  and  successor  of  Ed- 
ward II,  stands  in  the  next  bay  and  is  of 
Purbeck  with  brass  table  and  effigy  and  a 
richly  carved  Gothic  canopy  of  wood. 

The  effigy,  low  placed  and  easily  seen, 
shows  a  thin,  dead  old  face,  careworn  and 
sad,  said  to  be  taken  from  a  death  mask, 
the  beard  and  hair  long  and  neglected. 
Every  one  knows  the  pitiful  story  told 
concerning  this  king's  death,  the  truth  of 
which  seems  substantiated  by  the  appear- 
ance of  his  effigy.  The  long  plain  man- 
tle has  a  narrow  border:  the  sleeves  are 
decorated  with  a  fernlike  pattern  and 
have  six  tiny  buttons  at  the  wrist:  the 
sceptres,  one  in  each  hand,  indicate  double 
dominion  of  France  and  England.  The 
head  rests  on  two  pillows,  one  of  which 
is  lozenge-shaped.  The  lion  at  the  feet 
has  disappeared.     The  inscription  on  the 

330 


1 


fv. 


\ 


$  ^^1 


^CtJL 


«     1^ 


The  Tomb  ok  Edward  III 


Other  Tomhsf  in  the  Gonfessor^s  Chapel 

south  side  read:  "Tertius  Edwardus. 
Fama  super  aethera  notiis.     I377-" 

The  richly  arched  recumbent  canopy  of 
metal  at  the  head  of  the  figure  Is  sup- 
ported by  pierced  shafts  which  are  en- 
riched with  canopied  niches,  as  in  the 
Queen's  tomb  to  the  east,  each  niche  con- 
taining a  beautiful,  tiny  guardian  angel, 
having  delicately  wrought  hands  upraised 
in  prayer.  The  flat  wooden  canopy,  one 
of  the  most  decorative  features  of  the 
tomb  has  a  beautiful  arcade  of  crocketted 
arches  set  against  a  tracerled  cornice. 

The  sides  of  the  tomb  are  wrought 
with  a  series  of  six  arches  with  crockets 
and  finials,  separated  by  panelled  but- 
tresses: and  under  each  arch  was  placed 
one  of  the  twelve  children  of  Edward  and 
Phlllppa,  including  those  famous  seven 
sons,  "the  spring  heads  of  all  the  troubles 
of  the  next  hundred  years."*  Beneath  each 
was  an  enamelled  coat  of  arms.  Every 
figure  has  been  removed  from  the  north 
side  of  the  tomb  and  only  the  sockets 
remain  to  indicate  where  they  stood.  The 
six  on  the  outer  or  south  side,  being  placed 
above  ordinary  reach  from  the  aisle,  still 
remain,  and  represent  the  Black  Prince, 
Lionel,  Duke  of  Clarence,  Edmund,  Duke 
of  York,  the  Princess  Mary,  and  young 

♦Stanley. 


^yestminster  Ahhei/ 

William  of  Hatfield.  Hence  the  figures 
on  this  north  side  must  have  been  those 
of  John  of  Gaunt,  Thomas  of  Woodstock, 
Margaret,  Countess  of  Pembroke, 
Blanche  of  the  Tower,  Isabella  and  Will- 
iam of  Windsor. 

With  the  death  of  his  queen,  the  third 
Edward  seems  to  have  reverted  to  the 
type  of  his  bad  father,  Edward  11.  The 
memory  of  his  brilliant  conquests  and 
many  deeds  of  value  to  his  country  had  no 
power  to  withold  him  from  self-abase- 
ment. A  learned  prince,  the  last  but  one 
of  the  Plantagenet  line,  he  forgot  his  am- 
bitions. "England  enjoyed  by  the  pru- 
dence and  vigor  of  his  administration  a 
longer  period  of  domestic  peace  and  tran- 
quility than  she  had  been  blessed  with  in 
any  former  period,  or  than  she  experi- 
enced for  many  ages  after.*  The  death 
of  his  oldest  son,  the  Black  Prince,  in 
1376,  seven  years  after  the  death  of  his 
queen,  was  a  sore  trial.  A  year  later, 
June  21,  1377,  he  died  at  his  palace  of 
Sheen,  neglected  and  alone,  robbed  even 
of  his  rings  by  those  attending  him,  who 
fled  to  conceal  their  evil  deeds.  Only  one 
pitiful  priest  remained  to  care  for  him. 

He  was  buried  in  the  chapel  of  the  Con- 
fessor, near  his  queen,  as  he  desired,  but 
*Hume. 

332 


Other  Tombs  in  the  Confessor's  Chapel 

not  by  her  side.  In  the  funeral  procession 
his  body  was  borne  with  his  face  uncov- 
ered. The  King  of  France*  on  being 
informed  of  the  death  of  King  Edward, 
said  that  he  had  reigned  most  nobly  and 
valiantly,  and  that  his  name  ought  to  be 
remembered  with  honour  among  heroes, 
and  he  caused  funeral  obsequies  for  the 
English  king  to  be  performed  at  the  Saint 
Chapelle. 

One  other  tomb  of  a  king  remains  to 
the  west,  beyond  that  of  Edward  III, 
the  tomb  of  Richard  II  and  Anne  of 
Bohemia.  The  weak,  handsome  irreso- 
lute son  of  the  Black  Prince  and  Fair 
Joan  of  Kent,  who  died  In  1399,  the 
last  Plantagenet,  built  a  stately  tomb  for 
himself  and  his  cherished  queen  at  the 
head  of  that  of  his  grandfather,  Edward 
III,  whom  he  succeeded,  his  father,  the 
Black  Prince,  having  died  while  yet  a 
prince.  This  second  Richard  was  born  at 
Bordeaux,  and  came  to  the  throne  as  a 
child,  In  1377.  The  people  rejoiced  at 
his  coronation  when  the  pretty,  though 
over-Indulged  and  petted  child  of  eleven 
was  carefully  guided  through  the  magnifi- 
cent ceremonial  in  the  Abbey:  and  again 
they  rejoiced  when  he  was  married  here 
to  the   lovely   Lady  Anne   of   Bohemia, 

*Froissart. 

333 


Westminster  Ahhey 

in  138 1,  the  bridegroom  being  fifteen  and 
the  bride  a  year  younger.  Early  in  his 
reign,  Richard  made  a  courageous  stand 
when  the  rebels  under  Wat  Tyler  were 
advancing  against  the  royal  party,  but  in 
the  later  acts  of  his  life  exhibited  the  softer 
nature  of  his  mother  rather  than  the  more 
solid  virtues  of  his  father.  After  many 
vicissitudes,  Richard  was  forced  to  sign 
his  abdication  in  favour  of  his  cousin, 
Bolingbroke,  who  became  Henry  IV. 
When  the  day  arrived,  Richard  was 
released  from  prison  and  having  entered 
the  hall  which  had  been  prepared  for  the 
occasion,  royally  apparelled,  the  sceptre 
in  his  hand  and  the  crown  on  his  head,  he 
addressed  the  company  as  follows:  "I 
have  reigned  King  of  England,  Duke  of 
Aquitaine  and  Lord  of  Ireland  about 
twenty-two  years,  which  royalty,  lordship, 
sceptre  and  crown  I  now  freely  and  will- 
ingly resign  to  my  cousin,  Henry  of  Lan- 
caster, and  entreat  of  him,  in  the  presence 
of  you  all,  to  accept  this  sceptre."  He 
then  tendered  the  sceptre  to  the  Duke, 
who,  taking  it,  gave  it  to  the  Archbishop 
of  Canterbury.  King  Richard  next  raised 
his  crown  from  off  his  head,  and  placing 
it  before  him,  said,  "Henry,  fair  cousin 
and  Duke  of  Lancaster,  I  present  and  give 
to  you  this  crown,  and  all  the  rights  de- 

334 


Other  Tomhs'  in  the  Confessor's  Chapel 

pendent  on  it."  Richard  was  then  con- 
ducted back  to  his  prison*  and  the  Duke 
took  the  crown  with  the  title  of  Henry  IV. 
Richard  had  a  lasting  affection  for  his 
young  queen,  Anne  of  Bohemia,  to  whom 
he  was  ever  generous  and  faithful,  as  he 
was  faithful  and  loyal  In  all  his  friend- 
ships. The  Abbey  was  dear  to  him  and 
he  constantly  came  here  to  visit  the  Con- 
fessor's shrine,  to  hear  mass,  and  to  display 
the  beautiful  building  to  foreign  visitors. 
The  history  of  the  coronations  and  of  the 
king's  regalia  attracted  his  interest  and  he 
asked  so  many  questions  concerning  them 
that  one  of  the  monks,  William  of  Sudbury, 
wrote  a  treatise  on  the  subject  for  the 
king's  benefit.  In  1382  he  undertook  the 
completion  of  the  nave,  contributing  to  It 
liberally  and  promising  a  yearly  gift  so 
long  as  he  should  live,  but  this  was  only  a 
few  years,  so  that  little  was  accomplished 
through  his  liberality.  However,  he  built 
at  his  own  charges  the  fair  North  Porch, 
of  generous  size  (since  rebuilt),  on  which 
for  many  years  appeared  his  device,  the 
white  hart,  collared,  under  a  tree,  the  de- 
vice also  of  his  mother,  Joan  of  Kent. 

When  the  citizens  of  London  rallied  to 
his  assistance  In  a  time  of  distress,  Richard 
came  in  procession  to  Westminster,  and  at 
♦Froissart. 

335 


Westminster  Ahhey 

Charing  Cross  he  removed  his  shoes  and 
walked  barefooted  to  the  Abbey,  where  he 
made  his  devotions.  Here  he  once 
brought  the  King  of  Armenia  to  visit  the 
shrine  by  candlelight,  and  the  King  showed 
him  also  the  magnificent  regalia  in  which 
he  had  been  crowned. 

After  the  death  of  his  beloved  Anne, 
when  a  new  queen  was  urged  upon 
him,  he  chose  Isabella  of  Valois,  daughter 
of  Charles  VI  of  France,  a  child  of  seven, 
chiefly,  it  was  said,  because  years  must 
elapse  before  she  could  become  his  wife 
and  he  hoped  by  that  time  that  his  grief 
for  his  queen  would  be  lightened.  The 
wedding  took  place  at  Calais  In  1395,  and 
the  little  Queen,  as  she  was  called,  was 
conveyed  to  Windsor  to  be  educated. 
The  winning  manners  and  handsome  per- 
son of  the  King,  who  was  but  thirty  at 
this  time,  gained  the  child's  heart,  and  she 
became  tenderly  attached  to  him.  On  his 
last  expedition  to  Ireland  he  spent  some 
hours  at  Windsor  Castle  (where  he  gave 
her  in  charge),  attended  solemn  mass  and 
then  took  his  leave  of  her. 

In  1400,  the  year  following  his  abdica- 
tion, Richard  died  at  Pontefract  Castle,  in 
Yorkshire,  doubtless  murdered  by  order  of 
Henry  IV.  Fabyan  says  that  he  met  his 
death  bravely,  defending  himself  against 


Other  Tomhs  in  the  Confessor's  Chapel 

a  band  of  nine  armed  men  who  came  from 
the  King,  four  of  whom  he  killed  before 
he  himself  fell.  His  body  was  placed  on  a 
black  draped  litter,  and  was  borne  to  a  vil- 
lage "where  there  is  a  royal  mansion  called 
Langley,  about  thirty  miles  from  London. 
There  Richard  was  interred:  God  par- 
don his  sins  and  have  mercy  upon  his 
soul."*  Years  later,  when  Henry  V  came 
to  the  throne,  mindful  of  kindness  shown 
him  by  the  unfortunate  Richard  and  the 
fact  that  he  had  received  knighthood  at 
his  hands,  he  ordered  the  body  borne  with 
all  honour  to  Westminster  Abbey,  "with 
reverence  and  solemnite,"  and  there  buried 
by  the  side  of  his  beloved  queen;  and  that 
a  solemn  mass  should  be  celebrated  one 
day  in  each  week  and  candles  burned  by 
his  tomb  perpetually.f 

The  king's  will  left  jewels  to  the  Abbey 

*Froissart. 

tin    his    prayer    before    the    battle    of    Agincourt, 
Shakespeare  makes  Henry  recall  his  father's  sin : 

"O,  not  today,  O   Lord, 

0  not  today,  think  not  upon  the  fault 

My  father  made  in  compassing  the  crown! 

1  Richard's  body  have  interred  anew 

And  on  it  have  bestowed  more  contrite  tears 

Than  from  it  issued  forced  drops  of  blood. 

Five  hundred  poor  I  have  in  yearly  pay, 

Who  twice  a  day  their  withered  hands  hold  up 

Towards  heaven,  to  pardon  blood :  and  I  have  built 

Two  chantries,  where  the  sad  and  solemn  priests 

Sing  still,  for  Richard's  soul:  More  will  I  do," 

337 


Westminster  Abbey 

of  St.  Peter's,  to  the  new  fabric,  ''per  nos 
incepta." 

The  rich  high  altar  tomb  with  canopy 
and  effigies  which  Richard  built  for  him- 
self and  his  Queen,  is  closely  modelled 
after  that  of  his  grandfather,  Edward  III. 
As  the  effigies  were  ordered  during  the 
King's  lifetime,  they  should  be  good  por- 
traits. The  marble  workers,  copper- 
smiths and  painters  were  all  Englishmen 
whose  names  are  preserved  in  the  Fabric 
Rolls.  The  tomb  was  to  be  completed  in 
1397  and  the  cost  was  to  be  £10,000  of 
present  day  money,  with  a  gratuity  of  £20 
if  the  work  was  satisfactory. 

On  either  side  of  the  base  of  the  tomb 
are  eight  canopied  niches,  now  much  worn 
and  deprived  of  the  statues  of  saints  and 
angels  which  once  enriched  them,  the  King 
having  no  children.  The  effigies  were 
carefully  wrought,  but  were  cast  in  several 
pieces,  some  of  which  have  been  stolen 
away.  The  King  has  a  wide,  full  face, 
long  thin  nose,  masses  of  hair  parted  in 
the  middle,  and  confined  by  a  fillet,  and 
the  small  beard  is  worn  in  two  points. 
The  eyes  are  large  and  heavily  lidded. 
The  face  accords  with  Richard's  idea  of 
his  own  looks.  His  robes  are  powdered 
with  his  devices,  including  the  broom 
plant  (planta  genista) :  the  white  hart :  the 


other  Tomhsf  in  the  Confessor's  Chapel 

rising  sun  of  his  father,  the  Black  Prince, 
and  the  initials  A  and  R.  The  cushions 
at  the  head  are  comparatively  new,  the  gift 
of  Queen  Victoria.  The  effigy  of  the 
Queen  is  seen  with  difficulty  from  either 
side  of  the  chapel.  The  inner  side  of 
each  recumbent  canopy  is  powdered  with 
devices:  two  crosses  appear  on  that  of  the 
King.  Their  two  hands,  by  special  order 
of  the  King,  were  tenderly  clasped,  but 
have  long  since  been  broken  off. 

The  monument  was  neglected  for  many 
years,  and  in  the  eighteenth  century  there 
was  long  an  aperture  in  the  side  of  the 
tomb  next  to  the  aisle,  allowing  mischie- 
vous boys  and  idle  visitors  to  remove 
bones,  and  a  Westminster  scholar  of  1766 
describes  the  jawbone  of  the  King,  then  in 
his  possession.  The  buttresses  at  the  sides 
of  the  tomb  have  been  entirely  torn  away, 
leaving  great  holes  in  the  table.  The  tab- 
ernacle work  on  the  north  side  has  also 
nearly  all  disappeared,  having  no  protect- 
ing grille. 

The  plain,  flat  wooden  canopy  over  the 
tomb  is  remarkable  for  the  remains  of  a 
painting  on  its  underside,  so  placed,  accord- 
ing to  custom,  to  be  near  the  faces  of  the 
sleepers  in  the  tomb  beneath.  Records 
show  that  £20  (equal  to  £100  today)  was 
paid   for  this   painting.     It   is  best  seen 

339 


Westminster  Abhey 

from  the  chapel,  and  by  afternoon  light. 
The  entire  surface  of  the  canopy  is  divided 
into  four  rectangular  compartments:  those 
at  either  end  painted  with  angels  having 
conspicuous  golden  hair,  supporting  shields 
of  arms,  the  eagle  of  Bohemia  and  the  lion 
of  England.  Of  the  two  remaining  com- 
partments, the  westmost  contains  a  Trin- 
ity, the  Father  represented  in  aureole, 
seated  on  a  low  throne,  one  hand  In  bene- 
diction: in  the  eastmost  compartment  is 
represented  The  Coronation  of  the  Virgin, 
and  this  is  much  the  best  preserved  portion 
of  the  painting.  The  pigments  were 
applied  to  a  ground  of  some  plaster  com- 
position laid  on  pasteboard  or  parchment 
glued  to  the  wainscot.  The  surface  is 
thickly  powdered  with  small  four-foils, 
stars  and  other  devices.  Tiny  borders  of 
red,  gold  and  black  enrich  the  verge  of  the 
canopy. 

The  interesting  Latin  inscription  on  the 
verge  of  the  tomb,  placed  here  by  the  King, 
In  1398,  Indicates  his  excellent  opinion  of 
himself  and  his  Queen.  He  is  said  to  be 
"In  mind  prudent  as  Homer;  true  in  speech 
and  reason,  and  of  tall  and  elegant  per- 
son." 

Anne  of  Bohemia  (d.  1394,  aet.  27), 
the  first  queen  of  Richard  II,  was  the  eld- 
est daughter  of  the  widowed  Empress  of 

340 


Other  Tombs  in  the  Confessor's  Chapel 

Charles  IV,  who,  when  negotiations  for 
her  daughter's  marriage  to  the  young  Eng- 
lish King  were  proposed,  would  not  con- 
sider them  until  she  had  privately  sent  one 
of  her  own  nobles  to  see  "what  sort  of  a 
country  England  might  be."  The  young 
daughter,  who  was  but  15,  was  at  length 
sent  out  on  her  perilous*  journey  to  the 
strange  land,  attended  by  many  knights  and 
ladies,  but  they  were  forced  to  remain  in 
Brussels  a  month,  on  account  of  some 
large  ships,  full  of  Normans,  sent  out  to 
intercept  the  Bohemian  princess,  whose 
alliance  with  England  was  not  pleasing  to 
the  French  King.  She  proceeded  on  her 
way,  after  a  time,  arriving  at  Dover  in 
138 1,  and  made  a  grand  entry  into  Lon- 
don, where  she  was  cordially  received  and 
at  once  became  a  favourite  with  the  peo- 
ple. Her  marriage  to  Richard  took  place 
in  St.  Stephen's  chapel,  then  new,  on 
which  occasion  there  was  "mighty  feast- 
ing," and  the  pair  lived  very  happily 
together.  The  Queen  showed  many  acts 
of  kindness  and  mercy  to  the  unfortunate 
throughout  her  reign  of  twelve  years  and 
was  called  Queen  Anne  the  Good.  She 
is  always  mentioned  in  history  as  one  of 
the  early  princesses  who  was  friendly  to 
the  Reformation:  and  it  is  saidf  that  the 

*Froissart. 
tFox. 


Westminster  Ahhcy 

works  of  Wickliffe  were  first  made  known 
to  Huss  by  the  Bohemians  who  had 
attended  the  Queen  to  England:  and  that 
Joan,  Richard's  mother,  herself  a  friend 
of  Wickliffe,  used  the  queen's  influence 
with  her  son  to  save  Wickliffe's  life  in 
1382. 

The  palace  of  Eltham,  and  the  summer 
palace  of  Sheen  were  the  favourite  resi- 
dences of  the  King  and  Queen.  At  the 
grand  tournament  to  celebrate  the  King's 
coming  of  age,  Anne  presided  and  distri- 
buted the  prizes,  while  sixty  of  her  ladies, 
mounted  on  white  horses,  led  each  a  knight 
by  a  silver  chain  to  the  tilting  ground. 
The  Queen  gave  a  splendid  banquet  after- 
wards at  the  Bishop  of  London's  palace, 
"with  dancing  both  before  and  after  sup- 
per." The  Queen's  robes  were  very 
sumptuous,  though  she  came  to  England 
without  dowry:  and  her  crown  and  robes 
blazed  with  the  choicest  gems  that  the 
King  could  command. 

The  life  of  the  royal  pair  was  e»td-ava- 
gantly  costly.  The  King  entertained 
every  day  at  least  six  hundred  persons  and 
endeavoured  to  outdo  all  the  princes  ©f 
Christendom  in  his  jewels,  and  his  gay 
court.  Three  hundred  people  were 
employed  in  his  kitchens  alone,  and  the 

342 


Other  Tombs  m  the  Confessor's  Chapel 

young  Queen  "had  a  like  number  to  attend 
upon  her." 

The  beloved  Queen,  still  young,  died 
suddenly,  after  a  brief  illness,  at  her  sum- 
mer palace  of  Sheen,  the  King,  who  had 
always  been  faithful  to  her,  standing  by 
her  side  in  an  agony  of  grief.  She  prob- 
ably died  of  pestilence  which  was  then 
raging,  as  she  was  ill  but  a  few  hours. 
"The  King  and  all  who  loved  her*  were 
greatly  affected  at  her  death.  King  Rich- 
ard was  inconsolable  for  his  loss,  as  they 
mutually  loved  each  other,  and  long  after- 
ward, even  when  in  council,  if  she  was 
recalled  to  mind,  he  would  burst  into 
tears,  rise  and  suddenly  leave  the  room." 
He  ordered  the  palace  in  which  she  died 
razed  to  the  ground :  and  though  this  was 
not  wholly  accomplished,  her  apartments 
were  dismantled.  Froissart  tells  us  that 
the  funeral  obsequies  were  performed  at 
the  King's  leisure,  for  he  would  have  them 
magnificently  done,  and  did  not  take  place 
until  two  months  after  her  death.  Great 
store  of  wax  was  sent  for  from  Flanders 
for  candles  and  the  body  was  borne  in 
a  stately  procession  of  lords  and  ladies. 

Her  effigy  lies  beside  that  of  the  King, 
and   their  hands,  by  his  direction,    were 
joined  together,  but  have  long  since  been 
♦Froissart. 

343 


Westminster  Abbey 

broken  away.  The  face  of  her  effigy 
resembles  that  of  her  husband,  with  the 
same  heavy  lidded  eyes,  long  nose,  broad 
mouth,  and  seems  less  like  a  portrait  than 
a  conventional  representation.  Her  robe 
is  richly  ornamented  with  crowns,  initials, 
the  letters  A  and  R^^the  ostrich  feathers 
of  Bohemia,  and  the  curious  border  of 
the  open  pods  of  the  broom  plant  as  seen 
on  the  King's  robe.  The  inscription,  pre- 
pared by  the  king,  mentions  her  charities, 
her  care  of  poor  widows  and  mothers, 
her  love  of  peace  and  her  sweet  counte- 
nance. 

Thomas  of  Woodstock,  Duke  of  Glou- 
cester (d.  1397),  the  youngest  son  of 
Edward  III,  lies  buried  close  by  the  tomb 
of  his  mother,  Philippa,  but  the  fine  brass 
which  marked  the  spot  has  been  taken 
away  and  now  only  a  plain  stone  remains. 
He  was  created  Duke  of  Gloucester  by 
Richard  II,  whose  youngest  uncle  he  was, 
and  also,  with  little  doubt,  he  was  at  last 
foully  murdered  by  that  same  nephew, 
whom  he  had  censured  somewhat  too 
freely,  on  suspicion  of  conspiracy.  -  Fierce 
and  rapacious  by  nature,  but  of  fine  liter- 
ory  tastes,  an  author  of  some  ability  (he 
wrote  a  History  of  the  Laws  of  Battle),  he 
was  one  of  the  poet  Gower's  chief  patrons 

344 


Other  Tombs  in  the  Confessor's  Chapel 
and    the    poet    lived    in    his    household. 

"My  brother  Gloucester,  plain,  well-meaning  soul, 
Whom  fair  befall  in  heaven  'mongst  happy  souls," 

Shakespeare  makes  his  older  brother, 
John  of  Gaunt,  to  say  of  him.  The  Duke 
was  arrested  by  Richard's  own  hand  at 
Pleshy  Castle,  and  hurried  across  the 
channel  to  Calais,  where  he  was  killed  by 
two  paid  ruffians  of  the  King,  who  after- 
wards confessed  the  deed.  The  Duke 
was  first  buried  in  St.  Edmund's  chapel, 
where  his  duchess,  Eleanor  de  Bohun, 
now  rests :  but  was  removed  to  this  chapel 
by  his  nephew,  Henry  IV,  and  placed  near 
his  father  and  mother. 

Princess  Margaret  of  York  (d.  1472,  at 
the  age  of  eight  months),  the  infant 
daughter  of  Edward  IV,  has  a  small, 
high  altar  tomb  of  grey  marble  west  of 
Edward  Ill's,  probably  brought  here 
from  the  Early  English  Lady  chapel  on 
the  rebuilding  of  Henry  VII.  "My  Lady 
Margaret  died  young,"  says  a  contempo- 
rary chronicler.  The  tomb  once  had  brass 
borders  and  probably  an  effigy  in  brass 
and  there  was  a  stately  inscription  In  Latin 
on  a  brass  plate  on  the  top  bearing  the 
words  (translated),  "Nobility  and  beau- 
ty, grace  and  tender  youth  are  all  hidden 
here  in  this  chest  of  death.     That  thou 

345 


Westminster  Abbey 

mayst  know  the  race,  name,  age,  sex,  and 
time  of  death,  the  margin  of  the  tomb  will 
manifest  all  to  thee." 

The  tomb  of  John  of  Waltham,  Bishop 
of  Salisbury  in  Richard  IPs  time  (d. 
1395)  >  is  at  the  west  end  of  this  chapel, 
where  the  indent  of  a  once  beautiful  brass 
shows  the  Bishop  fully  vested,  with  staff ' 
and  a  richly  bordered  chasuble.  Wrought 
in  the  border  and  also  in  the  crook  of  his 
episcopal  staff  is  an  image  of  the  Virgin 
and  Child.  This  is  the  only  burial  within 
this  chapel  not  of  the  royal  blood.  King 
Richard  was  deeply  attached  to  the  Bishop, 
whom  he  had  made  Keeper  of  the  Privy 
Seal,  Master  of  the  Rolls,  and  Lord  Treas- 
urer, greatly  mourned  his  death,  and  com- 
manded that  he  should  be  buried  among 
the  kings,  "though  many  muttered  thereat, 
envying  him  this  honour."*  The  King 
presented  the  Abbey  a  gift  of  money  and 
two  handsome  copes  in  return  for  the 
favour  of  this  burial  within  the  chapel  of 
the  kings. 
♦Walsinghatn.  » 


346 


CHAPTER  XV 

CHAPELS   OF   THE    SOUTH 
AMBULATORY 

(Early  English,  1245-1269) 

Many  saints  were  held  in  honour  at  the 
monastery  of  St.  Peters,  Westminster: 
many  prayers  were  daily  offered  here  in 
their  name:  and  for  this  important  part 
of  the  mediaeval  churchman's  devotions 
Henry  III  made  liberal  provision  in  his 
new  building  by  surrounding  the  ambula- 
tory with  large  chapels  which  radiated  from 
the  aisle  like  the  sticks  of  a  fan.  The  Lady 
chapel  of  the  king's  earlier  rearing 
already  occupied  the  principal  place  at  the 
east,  where  Henry  VII's  chapel  now 
stands:  in  addition  to  this,  he  now 
built  two  chapels  on  the  north  and 
two  on  the  south  side  of  the  ambulatory, 
thus  forming  a  group  of  five  apsidal  chap- 
els. Another  pair  of  chapels  he  built  to 
project  eastward  from  the  east  aisle  of 
each  transept,  square  in  shape,  and,  as  may 
be  seen  from  the  plan  and  from  the  exter- 
ior of  the  building,  fitting  snugly  into  the 
angle  between  the  westmost  of  the  radiat- 

347 


Westminster  Abbey 

ing  chapels  and  the  east  aisle  of  each  tran- 
sept. These  transeptal  chapels,  though 
structurally  a  part  of  the  transept  and  not 
of  the  ambulatory,  and  accessible,  for- 
merly, from  transept-aisle  and  ambula- 
tory, are  now  most  conveniently  visited 
from  the  latter. 

Hence  a  group  of  seven  chapels  are 
here  included,  to  be  studied  In  order:  the 
first,  beginning  at  the  south,  being  St. 
Benedict's,  a  square  chapel  of  the  south 
transept :  then  St.  Edmund's  and  St.  Nich- 
olas', belonging  properly  to  the  ambula- 
tory, from  which  they  radiate,  and  shaped 
like  the  six  sides  of  an  octagon:  Henry 
VII's  splendid  chapel  at  the  east:  then 
coming  to  the  north  ambulatory,  St.  Paul's 
and  St.  John  the  Baptist's,  both  radiating 
chapels  of  the  north  aisle,  corresponding  in 
all  respects  to  those  of  St.  Edmund  and 
St.  Nicholas  on  the  south:  and  lastly,  to 
the  west,  Isllp's  chapel,  rebuilt  in  two 
stories,  the  transeptal,  square  chapel  of 
the  north  transept,  corresponding  to  St. 
Benedict's  on  the  south,  but  its  access  from 
the  transept's  east  aisle  now  built  up. 

The  East  Aisle  of  the  North  transept  is 
now  studied  from  this  ambulatory,  access 
from  the  transept  being  obstructed  by 
monuments. 

Each  of  these  seven  chapels  was  pro- 

348 


Chapels  of  the  South  Amhulatory 

vided  with  an  altar  at  the  east,  and  was 
dedicated  to  the  saint  who  gave  name  to 
the  chapel:  each  altar  slab  was  marked, 
as  is  that  of  Henry  V's  chantry  today, 
with  five  incised  crosses,  one  in  each  angle 
and  one  in  the  centre,  in  memory  of  the 
five  wounds  of  Christ.  Some  of  the  altar 
stones  had  little  insets  containing  relics, 
sealed  up  but  not  forgotten.  In  each 
chapel  was  a  stone  bench  running  round 
the  sides  of  the  room,  for  the  use  of 
worshippers:  in  each,  aumbry  and  piscina 
were  provided  for  the  altar;  chalice,  paten 
and  vestments  for  the  priest;  and  many 
were  enriched  by  beautiful  ornaments.  In 
some,  as  in  St.  Benedict's,  there  was  a 
choice  pavement  for  the  altar  place.  Each 
of  the  four  greater  chapels,  St.  Edmund's, 
St.  Nicholas',  St.  Paul's  and  St.  John  the 
Baptist's  is  formed  on  the  plan  of  six 
sides  of  an  octagon. 

Each  of  the  seven  chapels  now  has 
nearly  every  portion  of  its  walls  thickly 
crowded  with  tablets  and  monuments,  and 
in  none  is  any  trace  whatsoever,  except  in 
fragments  of  altars  or  piscinas,  and  stone 
benches,  of  its  original  use.  In  the  great 
cathedrals  of  the  Continent  where  such 
chapels  are  still  devoted  to  their  original 
purpose,  one  sees  today  the  enriched  altars, 
with  candles,  images  and  incense:  white 

349 


Westminster  Ahhey 

robed  priests  singing  masses,  or  a  little 
throng  of  worshippers  gathered  In  or  near 
the  chapel  in  silent  prayer:  or,  perhaps,  a 
single  figure  of  a  tired  working  woman 
with  a  basket  on  her  arm,  pausing  at  the 
day's  beginning  to  offer  her  little  gift  of  a 
small  candle  and  a  prayer  in  the  belief  that 
the  saint  whose  aid  she  invokes  will  care 
for  her  so  long  as  the  candle  burns :  or  per- 
haps It  is  the  lonely  figure  of  a  mourner  in 
sable  robes,  bowed  In  sorrow  before  the 
altar  of  some  friendly  saint  whose  suffer- 
ings she  pities  and  so  finds  relief  for  her 
own.  The  sweet  stillness  of  the  little 
chapel  gratifies  all  devout  hearts,  and  to  a 
Christian  of  whatever  creed,  such  use  of  a 
chapel,  once  consecrated  to  worship,  ap- 
peals far  more  forcfully  than  Its  use  for  a 
collection  of  tombs  and  monuments  to  the 
more  or  less  worthy,  daily  exhibited  to  the 
curious  by  an  attendant. 

The  Chapel  of  St.  Benedict,  the  first 
chapel  on  the  south  after  one  enters  the 
south  ambulatory.  Is  sometimes  called  the 
Deans'  Chapel  because  here  rest  three 
deans  of  Westminster,  Including  the  first 
dean  of  Elizabeth's  new  foundation  of 
the  Abbey  as  a  collegiate  church.  As 
has  been  said,  it  Is  not  structurally  one 
of  the  radiating  chapels  of  the  ambula- 
tory,   but    is   an    apsidal   chapel   project- 

350 


Chapels  of  the  South  Ambulatory 

ing  from  the  east  aisle  of  the  south 
transept,  which  is  conveniently  studied 
from  this  aisle.  It  is  nearly  square, 
has  a  large  window  on  the  south  and 
one  on  the  east,  and  opens  freely,  ex- 
cept for  the  obstruction  formed  by 
monuments,  into  the  Poets'  Corner  and 
into  the  ambulatory.  It  lies  parallel  to 
the  north  wall  of  the  chapter  house,  from 
which  it  is  separated  only  by  a  very  narrow 
space  which  forms  a  passage  by  which 
the  south  transept  may  be  entered  from 
the  street. 

The  chapel  is  dedicated  to  St.  Benedict, 
the  founder  of  the  Benedictines,  the  first 
and  most  famous  of  all  the  monastic 
orders,  and  that  to  which  St.  Peter's, 
Westminster,  belonged,  St.  Benedict  was 
a  pious  Italian,  who  at  15  became  a  her- 
mit of  the  most  austere  sort,  and  being 
entreated  by  other  hermits,  permitted  him- 
self to  become  their  head.  From  this 
small  beginning,  as  early  as  529,  the  insti- 
tutions of  monastic  life  spread  over  all 
Europe,  and  the  Benedictines  became  a 
great  and  powerful  organization.  The 
name  of  St.  Benedict  was  held  in  high 
esteem  in  England  and  particularly  at 
Westminster — an  early  foundation  of  the 
order;  and  one  of  the  monastery's  most 
precious  relics  was  the  head  of  this  saint 
351 


Westminster  Abbey 

set  in  a  choice  reliquary  of  gold,  enriched 
with  gems,  preserved  at  first  in  the  Con- 
fessor's chapel  and  perhaps  later  brought 
to  this  small  altar  dedicated  to  his  name. 
The  head  was  presented  by  Edward  III, 
who  bought  it  of  the  Abbey  of  Fleury, 
where  the  saint's  bones  had  been  depos- 
ited, coming  into  France  from  Monte 
Cassino. 

The  chapel  is  not  open  to  the  public,  but 
the  little  which  it  contains  to  attract  gen- 
eral interest  may  very  readily  be  viewed 
over  the  low  screen,  either  from  the  aisle 
or  from  the  transept.  A  lofty  two-light 
window  filled  with  plain  glass  is  in  the 
south  wall,  but  the  only  time  when  St.  Ben- 
edict's dark  corners  can  well  be  seen  is 
the  late  afternoon,  when  the  sun  is  low 
and  sends  its  revealing  rays  through  the 
west  windows  of  the  south  transept  aisle 
opposite.  Then  all  the  dark  nooks  are 
illuminated,  and  not  even  a  spider  can 
escape. 

The  old  altar  steps  remain  at  the  east 
end,  having  escaped  the  "leveling  process 
of  the  Parliamentarian  soldiers,"  but  are 
occupied  by  a  huge  monument.  The 
interesting  heraldic  tiles  of  early  date  in 
the  altar  pavement  are  not  readily  seen  in 
the  usual  dim  light.  A  beautiful  section 
of    the    trefoiled     arcade,    which     runs 


Chapels  of  the  South  Amhulatory 

under  the  windows  throughout  the  church, 
is  seen  on  the  south  wall,  its  carved  span- 
dril  work  in  excellent  preservation.  A 
door  of  access  to  the  triforium  stairs  is  in 
the  westmost  arch  of  the  south  wall. 
Dryden's  bust  stands  on  a  high  pedestal  in 


A  CAPITAL 


the  west  arch  of  this  chapel :  and  Long- 
fellow's, on  a  lower  pedestal,  is  just 
beyond.  One  of  the  greatest  benefactors 
that  the  Abbey  ever  had  (after  the  two 
royal  founders)  has  his  tomb  under  the 
north  arch  of  this  chapel,  between  the 
chapel  and  the  aisle.  Cardinal  Simon  Lang- 
ham,  first  monk,  then  prior,  abbot,  bishop, 
archbishop  and  cardinal,  who  died  at 
Avignon  in  1376.  Concerning  his  build- 
ing in  cloister  and  church,  and  the  fruits 
of  his  splendid  legacy  to  the  monastery, 
we  have  studied  in  the  chapter  on  the  com- 
pletion of  the  nave  building,  and  shall  see 
farther  results  in  studying  the  cloister  and 

353 


Westminster  Abhey 

precincts.  The  legacy  was  equal  to  $750,- 
000  of  our  money,  and  in  addition  to  this 
the  Cardinal  bequeathed  to  the  monastery 
his  books,  which  filled  seven  large  chests, 
a  precious  gift  in  those  early  days  before 
printing  was  in  use.  The  body  was 
brought  here  from  Avignon  and  honour- 
ably buried  in  St.  Benedict's  and  the 
monks  erected  this  altar  tomb  with  effigy 
and  canopy  to  the  memory  of  their  former 
companion  and  Abbot. 

The  tomb  and  effigy  are  of  alabaster: 
the  upper  and  lower  slabs  of  Purbeck 
marble,  the  latter  bearing  remains  of  an 
inscription  in  brass  letters.  The  effigy  is 
rather  coarsely  wrought,  is  seven  feet 
long  and  represents  the  Abbot  in  his  robes 
of  office,  with  dalmatic  having  a  double 
row  of  fringe :  rich  chasuble,  high  mitre, 
beautiful  veiled  staff  having  tabernacle 
work  at  the  head,  and  gloves  retaining  a 
single  blue  jewel.  Two  rings  are  worn  on 
the  second  and  third  fingers,  above  the 
middle  joint.  The  head  rests  on  a  double 
pillow  and  is  supported  by  adoring  angels 
with  very  stiff  wings :  the  hands  are  in 
prayer:  the  feet  rest  on  two  collared  dogs. 
The  shields  of  arms  which  decorate  the 
sides  of  the  tomb  are  an  early  instance  of 
such  decoration  which  later  came  into  gen- 
eral use.     The  shields  are  set  in  traceried 

354 


Chapels  of  the  South  Ambulatory 

panels  and  bear  the  arms  of  Edward  the 
Confessor,  the  cross  and  four  martlets: 
the  three  ducal  coronets  of  the  see  of  Ely, 
over  which  the  cardinal  presided  for  a 
time:  and  the  pall  of  Canterbury,  of  which 
he  was  Archbishop.  The  tomb  was  ori- 
ginally provided  with  a  wooden  canopy, 
which  was  broken  away  at  the  coronation 
of  George  I.  The  iron  railing  on  the 
ambulatory  side  is  an  early  and  interesting 
example  of  English  workmanship. 

Dean  William  Bill  (d.  1561),  the  first 
dean  of  Westminster  on  Queen  Elizabeth's 
new  foundation,  has  a  low  Purbeck  marble 
altar  tomb  within  this  chapel,  at  the  north- 
west angle,  with  a  brass  plate  bearing  his 
effigies.  The  Latin  inscription  testifies  to 
his  goodness  and  worth,  and  to  the  loss 
which  the  three  colleges  over  which  he 
presided,  Eton,  Trinity  and  St.  John's, 
sustained  by  his  death. 

Under  the  middle  arch  of  the  wall 
arcade  on  the  south,  which  is  recessed,  is 
a  kneeling  freestone  effigy  in  full  robes, 
once  lavishly  painted,  to  Dean  Gabriel 
Goodman,  a  Welshman  (d.  1601),  the 
fifth  Dean  of  Westminster.  It  is  said 
that  he  presided  here  "with  much  applause 
for  forty  years,"  and  Stanley  attributes 
to  him  the  real  foundation  of  the  present 
establishment.      The    effigy   kneels    on   a 

355 


Westminster  Ahhey 

cushion  before  a  prayer  desk  and  on  the 
pedestal  of  the  tomb  is  a  long  Latin 
inscription. 

The  place  of  the  altar  itself  is  now  oc- 
cupied by  a  very  large  monument  of  bronze 
and  marble,  with  alabaster  effigy,  to  Lady 
Frances  Howard,  Countess  of  Hertford 
(d.  1598),  whose  brother,  the  famous 
Admiral  Howard,  repulsed  the  Spanish 
Armada.  The  Countess  had  been  second 
wife  unto  the  noble  Edward,  Earl  of  Hert- 
ford, and  "dearly  loved  by  her  lord,"  who 
erected  this  sumptuous  monument  to  her 
memory  "in  testification  of  his  greate  love 
toward  her  and  of  his  careful  diligence  in 
this  doleful  duty."  The  tomb  is  about 
twenty-eight  feet  high  and  among  its  num- 
erous decorations  are  five  large  obelisks. 

A  rich  altar  tomb  in  the  midst  of  this 
chapel  to  Lionel,  the  first  Earl  of  Middle- 
sex (d.  1645),  was  erected  by  his  second 
wife,  Lady  Ann  (d.  1647),  who  records 
his  first  marriage  and  issue.  The  white 
marble  tomb  is  as  rich  as  could  be  ob- 
tained, having  black  marble  panels  at  the 
sides  containing  an  Inscription:  and  on  a 
rich  black  marble  slab,  five  inches  thick, 
rest  the  lifesize  effigies  of  the  Earl  and  of 
his  Countess,  dressed  with  all  possible  ele- 
gance, including  ermine  collar,  ruff  and 
coronet,  and  doubtless  since  it  was  made 

356 


Chapels  of  the  South  Ambulatory 

in  the  lady's  lifetime  she  often  came  to 
admire  it. 

St.  Edmund's  Chapel  is  the  westmost 
of  the  group  of  radiating  chapels  sur- 
rounding the  ambulatory,  and  is  in  the 
shape  of  six  sides  of  an  octagon,  the  two 
northern  sides  being  open  to  the  aisle  and 
suppositious.  It  was  long  considered  sec- 
ond in  sanctity  only  to  the  Confessor's 
chapel,  and  was  reserved  for  burials  of 
relatives  of  the  royal  family.  It  was  dedi- 
cated to  St.  Edmund,  king  of  East  Anglia, 
murdered  by  the  Danes  in  886,  and  here 
were  treasured  some  of  his  relics.  The 
important  monastery  of  Bury  St.  Edmunds 
was  built  over  his  remains.  The  chapel 
was  once  provided  with  altar  and  priests 
for  daily  service,  but  is  now  crowded  with 
incongruous  monuments,  among  which  one 
chooses  his  way  with  some  difficulty,  while 
the  beautiful  carved  arcade  of  the  walls  is 
nearly  obscured  by  a  variety  of  memorial 
tablets. 

The  altar  stood  at  the  east,  under  the 
second  arch  from  the  north,  where  still 
may  be  seen  some  faint  traces  of  painting, 
perhaps  of  the  reredos.  The  chapel  is 
lighted  by  three  lofty,  two-light  windows 
and  is  separated  from  the  aisle  only  by  a 
low  screen.  Portions  of  the  rich  spandril 
carvings  of  the  wall  arcade  remain  on  the 

357 


Westminster  Ahhey 

east  wall.  The  central  figure  is  most  deli- 
cately wrought,  having  a  strong,  youthful 
face,  drapery  gracefully  disposed  over  the 
left  shoulder,  the  arms  extended,  bearing 
in  her  hands  a  crown  and  foliage.  There 
is  a  quaint  little  figure  on  the  north 
side.     The  corbel  head  is  well  carved  and 


A   SPANDRIL  CARVING 


represents  the  face  of  an  older  man  with 
long,  curling  beard,  perhaps  Edward  the 
Confessor.  The  low  stone  bench  remains 
on  two  sides  of  the  chapel.  There  is  a 
beautiful  foliage  boss. 

The  tomb  of  Henry  Ill's  "turbulent 
half  brother,"  William  de  Valence,  Earl 
of  Pembroke  (d.  1296),  erected  by  his 
youngest  son,  Aymer,  stands  to  the  west 
of  the  entrance  to  the  chapel.  The  Earl 
was  the  son  of  Henry  Ill's  mother,  Isa- 
bella of  France,  by  her  second  marriage 
to  a  French  nobleman,  Hugh  of  Lusignan, 
358 


Chapels  of  thei  South  'Ambulatory 

Count  de  la  Marche,  and  brother  to  Ay- 
mer  or  Ethelmar  of  Valence,  who  became 
bishop  of  Winchester  through  his  half 
brother's  favour. 

The  tomb  consists  of  three  parts,  a 
stone  base  or  chest  containing  the  body: 
an  oak  chest,  and  an  effigy  of  oak  covered 
with  beautiful  Limoges  enamel.  It  is 
wholly  French  in  design  and  probably  in 
workmanship,  and  one  of  the  most  inter- 
esting and  unusual  tombs  in  the  entire  Ab- 
bey, though  stripped  of  much  of  its  enamel 
and  other  ornament.  The  stone  chest  or 
altar  tomb,  probably  of  English  workman- 
ship, is  ornamented  with  traceried  panels 
containing  shields  of  arms,  among  which 
are  the  arms  of  Valence  on  the  Rhine  (the 
Earl's  birthplace)  :  a  barry  of  ten  and  an 
orle  of  martlets,  which,  after  the  usage  of 
the  heralds  of  France  and  as  seen  on  the 
early  arms  of  the  Confessor,  are  repre- 
sented without  feet  to  indicate  swiftness  of 
wing.  The  ten  bars  have  delicate  carved 
scrolls  of  gold  and  blue,  the  blue  bars  and 
the  martlets  being  outlined  with  gold 
threads.  In  the  shields  at  the  angles  there 
is  rich  diaper  work  of  conventional  foli- 
age. 

The  oak  chest  bearing  the  effigy  is  much 
worn  away  and  only  a  few  fragments 
remain  of  the  delicate  carved  arcade  which 

359 


Westminster  Abhey 

surrounded  It,  and  the  thirty-three  small 
figures  of  mourners  under  the  arches. 
Portions  of  a  beautiful  wrought  metal  bor- 
der are  seen  on  the  ledge,  and  some  frag- 
ments of  the  enamel  with  which  the  wooden 
chest  was  decorated  are  on  the  slab  be- 
tween the  feet.  The  effigy  itself  is  one  of 
the  few  made  of  wood  to  be  found  in  Eng- 
land: those  of  Robert  of  Normandy  at 
Gloucester  and  of  Archbishop  Peckham  at 
Canterbury  being  other  notable  examples. 
It  was  originally  covered  over  with  thin 
plates  of  copper,  engraved,  representing  the 
chain  armour  of  the  period,  the  belt,  shield 
and  pillow  being  wrought  with  French 
enamel.  The  large  eyes  of  the  figure  are 
open,  and  the  mouth,  open  also,  as  if  smil- 
ing or  speaking.  The  nose  is  long  and 
broad,  the  hands  gloved  and  in  the  atti- 
tude of  prayer.  On  the  head  is  a  close  hel- 
met or  coif  of  copper  engraved  to  imitate 
chain  armour,  and  having  a  narrow  fillet 
of  delicate  pattern,  once  jewelled,  but 
all  the  stones  have  been  picked  out.  The 
long  surcoat  was  once  semee  with  small 
shields  bearing  the  arms  of  Valence, 
only  three  of  which  remain;  it  spreads 
over  the  armour  and  below  the  knees, 
opening  in  front  to  disclose  a  small 
portion  of  the  hauberk.  Both  the  narrow 
belt  of  the  surcoat  and  the  broad,  massive 
360 


Chapels  of  the  South  Ambulatory 

sword  belt  are  enamelled  with  quatrefoils 
and  other  designs  In  blue  and  gold.  The 
feet  are  encased  in  chain  mall  and  rest  on 
a  Hon:  one  spur  remains  to  the  gallant 
knight :  a  broken  plate  of  copper  remaining 
on  the  lion  shows  the  style  of  the  original 
decoration  of  copper  plates. 

The  enamelled  shield  is  one  of  the  most 
beautiful  and  best  preserved  portions  of 
the  monument,  and  Is  now  readily  seen  by 
its  reflection  in  a  mirror  which  has  been 
conveniently  placed  for  this'  purpose  over 
the  tomb.  It  Is  of  the  large  heater  shape 
in  early  use,  enamelled  with  the  arms  of 
Valence,  twenty-eight  cross  bars,  alter- 
nately blue  and  silver,  the  blue  cunningly 
diapered  with  gold;  the  silver  with  black, 
and  the  martlets  placed  between  the  bars. 
The  pillow  is  enamelled  in  blue,  green,  red, 
and  white,  having  tiny  shields  enclosing 
small  four-petaled  flowers  alternately  with 
the  arms  of  Valence  and  of  England. 
Some  small  shields  also  remain  on  the 
north  side  of  the  slab  on  which  the  eflSgy 
rests. 

The  Earl  was  the  third  of  the  five  sons 
of  Queen  Isabella  and  the  Count  de  la 
Marche,  and  was  born  at  the  Count's  great 
citadel  of  Valence  on  the  Rhine.  The 
Queen's  tomb  Is  at  Fontevraud,  where  her 
son  by  her  first  marriage,  Henry  III, 
361 


Westminster  Abhey 

erected  a  beautiful  enamelled  statue  to  her 
memory.  After  her  death,  the  count  sent 
his  sons  over  to  the  court  of  their  English 
half  brother,  who  treated  them  with  great 
liberality:  but  they  proved  ungrateful  and 
caused  him  countless  anxieties.  This  Earl 
fought  in  the  Welsh  and  French  wars  and 
was  killed  at  the  battle  of  Bayonne. 

A  lofty  Jacobean  tomb  of  marble  on  the 
west  wall  of  this  chapel  is  to  the  memory 
of  Edward  Talbot,  the  eighth  Earl  of 
Shrewsbury  (d.  1617),  and  his  Countess, 
the  Lady  Jane,  daughter  of  Baron  Ogle. 
The  high  round-arched  canopy  is  sup- 
ported on  rich  marble  columns  and  is  sur- 
mounted by  a  shield  of  arms  with  sup- 
porters. Recumbent  effigies  of  the  two 
rest  on  a  black  marble  slab,  their  hands 
upraised  in  prayer,  the  Earl  lying  highest 
as  of  superior  rank:  a  round-cheeked  little 
girl  kneels  at  her  mother's  feet. 

Sir  Richard  Pecksall  (d.  1571),  Master 
of  the  Buckhounds  to  Queen  Elizabeth, 
has  an  Elizabethan  monument  on  the  west 
wall,  with  his  two  wives,  both  named 
Eleanor,  and  four  small  daughters. 

Sir  Humphrey  Bourchier,  a  staunch  fol- 
lower of  Edward  IV,  killed  at  the  battle  of 
Barnet,  in  147 1,  has  a  low  altar  tomb  to 
the  south,  having  traceried  sides  and  the 
remains  of  a  handsome  brass  effigy.     His 

362 


Chapels  of  the  South  Ambulatory 

death  is  described  in  "The  Last  of  the 
Barons,"  the  author  of  which  Hes  buried 
near  by:  "Down  fell  Sir  Humphrey  Bour- 
chier,  who  had  just  arrived  with  messages 
from  Edward,  never  uttered  in  the  world 
below." 

Sir  Edward  Bulwer  Lytton,  the  novelist, 
lies  buried  in  this  chapel  under  a  blue  mar- 
ble slab  in  the  pavement,  with  the  inscrip- 
tion, "Laborious  and  distinguished  in  all 
fields  of  intellectual  activity,  indefatigable 
and  ardent  in  the  cultivation  and  the  love 
of  letters,  his  genius  as  an  author  was  dis- 
played in  the  most  varied  forms  which 
have  connected  him  indissolubly  with  every 
department  of  the  literature  of  his  time." 

The  novelist  died  at  Torquay,  January, 
1873,  a  few  days  after  revising  the  proof 
sheets  of  his  last  novel,  "Kenelm  Chilling- 
ly," He  had  desired  a  private  burial  in 
his  family  vault  at  Knebworth  but  the  pub- 
lic demanded  that  he  should  be  fittingly 
honoured  by  a  funeral  and  burial  in  the 
Abbey.  A  heavy  fog  settled  over  London 
on  the  day  of  the  burial,  nearly  obscuring 
all  the  outlines  of  the  Abbey,  and  giving 
a  solemn,  muffled  sound  to  the  great  bell 
in  the  tower  as  if  from  another  world. 
"The  high  arcades  of  the  Abbey  were  dim 
with  vapor,  the  gas  had  to  be  lit  in  the 
choir;  and  in  the  south  transept  lamps  were 

3^3 


Westminster  Abhey 

set  upon  Plantagenet  tombs,  and  candles 
fixed  against  the  wall.  The  pavement  was 
laid  with  a  broad  strip  of  black  cloth, 
beginning  at  the  west  cloister  door  and  con- 
tinuing along  the  nave,  choir  and  south 
transept.  The  floor  and  raised  tombs  of 
St.  Edmund's  chapel  were  altogether  car- 
peted in  black,  the  open  grave,  seven  feet 
deep,  being  also  lined  with  black.  .  .  . 
the  Abbey  choir,  placed  in  the  Confessor's 
chapel,  singing  their  anthems  by  the  tomb 
of  Henry  V  and  laying  the  music  books 
on  the  figure  of  Edward  III.  The  coffin, 
borne  by  labourers  from  the  Knebworth 
estate,  was  draped  with  a  pall  of  black  vel- 
vet bordered  with  white,  and  on  it  rested 
a  beautiful  wreath  of  camelias,  the  two  red 
velvet  cushions  bearing  the  coronet,  and 
the  Star  and  Collar  of  the  Order  of  St. 
Michael  and  St.  George.  Lord  Lytton's 
son,  Owen  Meredith,  was  the  chief  mourn- 
er. Dean  Stanley  conducted  the  service 
and  while  the  coffin  with  its  flowers  was 
lowered  the  great  bell  sounded  its  solemn 
note  and  the  Dean  read  the  sentence.  For- 
asmuch as  it  hath  pleased  Almighty  God, 
etc.  As  the  mourners  left  the  little  chapel 
the  noble  music  of  the  Dead  March  from 
'Saul'  filled  the  dark  Abbey  aisles,  and 
when  it  ended  the  solemnity  was  complete, 
and  with  due  observance  the  great  author 

364 


Chapels  of  the  South  Amhulatory 

had  been  laid  in  an  honoured  grave,"* 
Dr.  Henry  Feme  (d.  1662),  chaplain 
to  Charles  I,  whose  favour  he  won  by  a 
single  sermon,  rests  under  a  marble  slab 
near  Bulwer.  He  was  with  Charles 
during  his  imprisonment  at  Carisbrooke 
Castle  in  the  Isle  of  Wight,  and  preached 
the  last  sermon  that  the  King  heard  here 
before  going  up  to  London  for  his  trial. 
At  the  Restoration,  Charles  II  rewarded 
him  for  his  loyalty  by  appointing  him 
Bishop  of  Chester,  an  honour  which  he 
enjoyed  but  a  brief  time,  for  he  died  within 
a  month. 

Lord  John  Russell  (d.  1584)  has  a 
large  Elizabethan  tomb  on  the  southeast, 
with  alabaster  effigy;  and  reclining  at  his 
feet  is  the  tiny  figure  of  Francis,  an  infant 
son  with  round  cheeks  and  dimpled  hands, 
who  died  the  same  year  with  his  father. 
The  shields  of  arms  in  the  arch  above  the 
effigy  are  curiously  supported  by  women 
in  the  costume  of  the  period:  angels  bear- 
ing wreaths  decorate  the  spandrlls  of  the 
arch.  The  tomb  was  erected  and  the 
inscriptions  written  in  Greek,  Latin  and 
English  by  Lady  Russell,  one  of  the 
"learned  daughters"  of  Sir  Anthony 
Cooke. 

♦Cooper's  Life. 

365 


Westminster  Abbey 

The  Maid  of  Honour  monument,  as  it 
is  usually  called,  close  by  Lord  Russell's 
tomb,  is  in  memory  of  his  fair  young 
daughter,  Elizabeth  Russell  (d.  1601), 
pleasantly  called  "Bess  Russell"  in  the 
chronicles  of  the  day.  The  child  was  born 
in  the  Abbey  precincts,  where  her  mother 
had  taken  refuge  during  the  plague  of 
1575,  and  she  and  her  sister,  Anne,  were 
early  appointed  maids  of  honour  to  Queen 
Elizabeth  and  lived  a  gay  and  happy 
life  at  the  brilliant  Court.  A  few  weeks 
after  the  wedding  festivities  of  her  sister, 
Anne,  in  which  the  Lady  Bess  had  borne  a 
prominent  part,  she  sickened  and  died, 
being  only  sixteen  years  of  age.  This 
monument,  erected  by  the  loving  sister, 
represents  a  young  girl  seated  in  a  wicker 
chair,  which  rests  on  a  high  marble  ped- 
estal, simulating  a  Roman  altar.  One  foot 
Is  against  a  skull,  one  of  the  emblems  of 
her  family.  Her  eyes  are  closed  as  if  in 
sweet  slumber. 

Lady  Jane  Seymour  (d.  1560),  the 
Protector  Somerset's  young  daughter  of 
nineteen,  has  a  mural  tablet  on  the  east 
wall,  put  there  by  "her  deare  brother." 
Her  name  would  naturally  be  cherished  by 
this  brother,  Edward  Seymour,  Earl  of 
Hertfort,  for  through  her  good  offices  he 
was  able  to  meet  and  privately  marry  her 

266 


Chapels  of  the  South  Ambulatory 

intimate  friend,  the  beautiful  Lady  Cath- 
erine, younger  sister  of  Lady  Jane  Grey, 
whose  romantic  history  is  linked  with  many 
lives  of  note.  The  young  sister  arranged 
the  lovers'  meetings  and  bribed  a  clergy- 
man to  marry  them,  early  one  morning 
when  the  Queen  and  court  were  off  hunt- 
ing. The  early  death  of  this  young  sister 
was  a  source  of  great  sorrow  to  the  youth- 
ful pair.  The  Protector  had  intended  her 
to  be  the  wife  of  Edward  VL 

Lady  Katherine  Knollys  (d.  1569), cou- 
sin to  Queen  Elizabeth,  being  daughter  of 
Mary  Boleyn  and  niece  of  Queen  Anne 
Boleyn,  whom  she  attended  In  her  last  days 
in  the  Tower  and  accompanied  to  the 
scaffold,  has  a  black  mural  tablet  with  can- 
opy on  the  east  wall.  In  consequence  of 
her  devotion  to  her  unfortunate  aunt, 
Queen  Elizabeth  held  her  in  high  esteem 
and  she  was  much  at  the  Court  of  the 
Maiden  Queen.  She  had  married  Sir 
Francis  Knollys,  the  Treasurer  of  Eliza- 
beth's household.  The  bull's  head  of  the 
Bullen  arms  appears  on  the  tablet. 

The  mother  of  Lady  Jane  Grey,  Fran- 
ces, Duchess  of  Suffolk  (d.  1599),  of  the 
royal  blood,  being  the  granddaughter  of 
Henry  VII,  has  a  noble  tomb  In  the  midst 
of  this  chapel.  She  was  the  daughter  of 
Henry    VII's    daughter,     Mary    Tudor, 

367 


Westminster  Ahhey 

widow  of  the  French  king,  later  married  to 
Charles  Brandon  (who  became  Duke  of 
Suffolk) ,  and  had  for  her  godmother  Cath- 
erine of  Aragon,  with  the  little  Princess 
•Mary,  who  became  Queen.  The  Lady 
Frances  was  at  one  time  considered  very 
close  to  the  throne,  as  she  had  been  named 
in  the  King's  will  as  next  heir.  Though 
she  is  often  spoken  of  as  having  lived  in 
great  distress  after  the  execution  of  her 
husband,  history  shows  that  she  was  held 
in  favour  at  the  court  of  Queen  Mary,  her 
early  friend,  who  frequently  entertained 
her  and  her  surviving  daughters.  She  was 
a  handsome  figure  In  the  early  days  of  her 
marriage  and  "added  much  splendour  to 
the  pageants"  in  the  time  of  Edward  VI. 

She  is  usually  spoken  of  as  a  harsh  and 
severe  mother  to  the  Lady  Jane,  a  state- 
ment based  entirely  upon  a  remark  of  the 
little  daughter  to  her  tutor,  Roger  As- 
cham:  "When  I  am  in  the  presence  either 
of  father  or  mother,  whether  I  speak,  keep 
silence,  sit,  stand  or  go,  eat,  drink,  be 
merry  or  sad,  be  sewing,  playing,  dancing 
or  doing  anything  else,  I  must  do  it,  as 
it  were,  in  such  weight,  measure  and  num- 
ber, even  so  perfectly  as  God  made  the 
world,"  and  refers  to  corrective  punish- 
ments such  as  parents  ordinarily  adminis- 
tered to  their  children  of  six  and  seven 
368 


Chapels  of  the  South  Ambulatory 

years.  But  since  she  prefaces  her  state- 
ment with  "One  of  the  greatest  benefits 
that  God  ever  gave  me  is  that  he  sent  me 
so  sharp  and  severe  parents  and  so  gentle 
a  schoolmaster,"  her  childish  criticism  can- 
not be  taken  as  a  serious  reflection  on  her 
mother.  There  is  little  in  the  mother's 
life  to  indicate  generous  feeling  for  her 
unfortunate  daughter.  If  she  urged  on 
the  daughter's  claims  to  the  crown,  not 
daring  to  put  forth  her  own,  it  must  be 
attributed  to  ambition.  And  when  hus- 
band and  daughter  were  in  the  Tower,  in 
peril  of  their  lives,  she  threw  herself  at 
Queen  Mary's  feet  and  piteously  and  suc- 
cessfully (for  the  time)  begged  for  her 
husband's  release;  but  there  is  no  record 
of  similar  intercession  for  the  young 
daughter  of  tender  years.  And  within  a 
very  few  months  after  the  terrible  execu- 
tion of  husband  and  daughter,  we  find  the 
handsome  Lady  Frances,  true  niece  of 
Henry  VIII,  in  close  attendance  on  Queen 
Mary,  "an  active  courtier,"  freely  asking 
and  receiving  favours. 

Not  long  after  the  execution  of  the 
Duke,  she  married  Adrian  Stokes,  her 
Master  of  the  Horse,  "which,  however 
much  it  might  tend  to  her  discredit,  yet 
seemed  to  answer  the  view  with  which  it 
was  done  by  contributing  to  her  security." 

369 


Westminster  Abbey 

No  doubt  the  years  of  quiet  life  in  a  less 
exalted  station  assisted  her  to  forget  the 
anxieties  of  her  splendid  royal  connection. 
The  funeral  of  the  Duchess  was  attended 
with  much  pomp,  with  arms  and  banners, 
and  heralds  of  arms,  Master  Garter  and 
Master  Clarencleux  and  a  long  train  of 
mourners.  The  Herald's  account  is  pre- 
served In  the  College  of  Arms.  Her  por- 
trait, with  that  of  Adrian  Stokes,  was 
engraved  by  Vertue  and  bears  out  the 
testimony  to  her  beauty. 

The  high  tomb  of  alabaster,  with  ala- 
baster effigy,  was  worthy  of  so  high-born 
a  lady  and  was  provided  for  her  by  the 
munificence  of  the  second  husband.  It 
has  been  wantonly  mutilated  and  at  one 
time  the  prejudice  against  the  lady's  name 
was  so  great  that  the  tomb  was  with  diffi- 
culty preserved  from  destruction.  It 
rests  on  two  stone  steps:  the  sides  are 
panelled  and  decorated  with  arms  crowned 
by  a  coronet.  The  effigy  reclines  on  a 
plaited  mattress  rolled  at  the  head  to  form 
a  pillow  and  there  is  a  rich  embroidered 
cushion.  The  face  is  small  and  delicate, 
but  badly  marred  by  scratched  initials. 
She  wears  a  long  ermlned  robe,  stiff  high 
bodice,  ruff  and  close  collar.  The  close 
sleeves  are  wrought  in  a  square  pattern: 
the  delicate  hands,  with  jewelled  ring  on  the 

370 


Chapels  of  the  South  Amhulatory 

third  finger  of  the  right,  are  clasped  over 
a  book:  there  is  a  chain  with  pendant  at 
the  throat.  The  sturdy  feet  rest  on  a 
crowned  lion.  The  coronet  once  on  her 
head  is  missing. 

From  the  tomb  of  this  duchess  notice  the 
fine  views  of  the  sanctuary  triforium  and 
the  clerestory  of  the  Confessor's  chapel 
and  shrine:  also  of  the  south  wall  of 
Henry  V's  chantry  above  the  aisle. 

Two  infant  children  of  Edward  III, 
Blanche  of  the  Tower  and  William  of 
Windsor,  have  a  small  marble  altar  tomb 
with  tiny  alabaster  effigies  about  twenty 
inches  long,  near  the  east  end  of  the 
chapel.  The  Princess  Blanche  died  in 
1340,  and  her  little  effigy  appears  as  a  long, 
slender,  graceful  figure  wearing  over  her 
cote  hardie  a  long  mantle  with  rich  rose 
clasp  and  two  quatrefoil  studs:  a  netted 
headdress,  each  knot  of  which  is  decorated 
with  a  group  of  four  pearls:  her  left  hand 
lies  on  her  jewelled  stomacher:  a  lion  is 
at  her  feet.  The  little  Prince  William 
lived  to  be  twelve  years  old.  His  small 
effigy  is  dressed  in  short  doublet  and  man- 
tle: his  belt  is  decorated  with  roses,  his 
flowing  hair  encircled  by  a  fillet,  and  the 
hands  are  clasped.  The  lowers  part  of 
the  effigy  has  been  chipped  off  obliquely, 
also  a  large,  part  of  the  slab  at  the  base 

371 


Westminster  Ahheij 

of  the  figure.  All  the  surface  of  this  deli- 
cate little'tomb  is  now  marred  by  scratched 
initials.  The  effigies  were  made  for  the 
King  by  a  stonemason  named  John 
Orchard,  for  twenty  shillings. 

A  quaint  tablet  in  the  northeast  angle 
is  in  memory  of  the  last  Earl  of  Stafford, 
John  Paul  Howard  (d.  1762),  the  inscrip- 
tion recording  the  fact  that  the  Stafford 
family  descended  by  ten  different  mar- 
riages, from  the  royal  blood  of  England 
and  of  France.  Surrounding  the  inscrip- 
tion is  a  border  curiously  composed  of 
roundels  containing  badges  of  honour, 
including  strawberry  leaves  and  fruit,  a 
Hon,  a  greyhound,  a  falcon,  a  fish,  the  full 
sun,  etc.,  each  roundel  connected  to  the 
next  by  a  Stafford  knot,  and  all  wrought 
in  brown  stain  applied  to  the  marble. 

A  pyramid  tomb  set  between  two  fun- 
eral urns  against  the  east  wall,  takes  us 
again  to  the  days  of  Charles  II  and  the 
Restoration.  It  bears  the  name  of  Nich- 
olas Monk  (d.  1661),  brother  of  the  fam- 
ous general  to  whom  the  second  Charles 
probably  owed  his  crown,  and  as  an 
inscription  states,  "the  most  endeared 
brother  to  the  most  noble  General  Monk 
.  .  .  the  chief  and  the  most  successful 
assistant  with  him  in  that  glorious  Resto- 
ration of  Charles  II."     He  is  said  to  have 

372 


Chapels  of  thei  South  Amhiilatori/ 

suggested  the  plan  for  restoring  the  King 
to  his  throne. 

Of  the  three  low,  wide  altar  tombs  in 
the  midst  of  the  chapel,  two  have  the 
richest  brasses  In  the  Abbey.  The  most 
elaborate  of  these  commemorates  Eleanor 
de  Bohun,  Duchess  of  Gloucester  (d. 
1399),  the  greatest  heiress  in  England  at 
that  time.  After  the  treacherous  murder 
of  her  husband,  Thomas  of  Woodstock, 
Duke  of  Gloucester,  the  youngest  son  of 
Edward  III,  at  the  instigation  of  Richard 
II,  it  is  recorded  that  Eleanor  spent  the 
remainder  of  her  life  in  sorrowful  widow- 
hood at  the  nunnery  of  Barking.  The 
brass  has  a  fine  cumbent  triple  canopy  with 
rich  tabernacle  work  and  In  each  arch  of 
the  canopy  are  represented  the  Duchess' 
emblems,  the  central  one  being  the  swan 
of  the  Bohuns.  Shields  of  arms  also 
appear  on  the  rich,  lofty  buttresses  which 
support  the  canopy.  The  effigy  is  In 
widow's  garb  with  long  robes  and  veil, 
the  Incised  face  crudely  rendered:  the 
hands  are  upraised  in  prayer:  the  head 
rests  on  two  embroidered  and  tasselled 
cushions.  Flowers  are  upspringing  at  her 
feet:  a  rich  border  at  the  base  contains 
ferns  gracefully  alternating  with  the  swans 
of  the  Bohuns.  An  Inscription  runs 
around  the  ledge  of  the  tomb. 

373 


Chapels  of  the  South  Amhulatory 

The  second  brass  is  that  of  Robert  de 
Waldeby,  Archbishop  of  York  (d.  1397), 
who  had  been  an  esteemed  friend  of  the 
Black  Prince  and  tutor  to  his  son,  Richard 
II.  The  brass  has  a  beautiful  cumbent 
canopy  of  a  single  arch,  supported  by  but- 
tresses, under  which  appears  a  figure  of 
the  Archbishop  fully  robed  for  mass,  with 
high  mitre,  staff  with  cross:  the  pall  with 
six  crosses  (in  imitation  of  the  crossed 
pins  by  which  the  early  palls  were  fas- 
tened to  the  robe)  and  crosses  on  the 
episcopal  shoes.  The  gloves  are  richly 
jewelled,  the  right  hand  is  in  benediction. 

The  third  low  tomb  in  the  midst  of  the 
chapel  is  an  altar  tomb  of  white  veined 
marble  having  no  ornament  but  inscribed 
to  Mary,  Countess  of  Stafford  (d.  1694), 
wife  of  Viscount  Stafford,  who  was  be- 
headed for  alleged  complicity  in  the  popish 
plot,  on  Tower  Hill,  in  1680:  a  lineal 
descendant  of  Eleanor  Bohun,  by  whose 
side  she  rests.  The  title  was  granted  her 
in  her  own  right  after  the  death  of  her 
husband. 

A  rich  Gothic  altar  tomb  east  of  and 
close  by  the  little  door  of  the  chapel,  cor- 
responding in  location  to  that  of  William 
de  Valence,  is  in  memory  of  Edward  II's 
second  son,  Prince  John  of  Eltham  (d. 
1337),  a  young  man  of  nineteen.     He  was 

374 


Westminster  Abbey 

born  at  Eltham  palace  in  Kent  and  the 
King  was  so  rejoiced  at  the  event  that  he 
presented  £ioo  to  the  messenger  who 
brought  him  the  news.  The  Prince  early 
exhibited  conspicuous  abilities  and  was 
much  relied  on  by  his  older  brother,  Ed- 
ward III.  On  three  different  occasions 
when  the  latter  was  absent  from  England 
he  appointed  Prince  John,  then  a  very 
young  man,  to  be  his  regent:  and  though 
the  Prince  was  but  nineteen  at  the  time  of 
his  death,  he  had  the  entire  command  of  the 
army  in  Scotland.  He  died  at  Benvick- 
on-Tweed,  while  on  an  expedition  to  Scot- 
land with  the  King.  It  was  ordered  that 
he  should  be  entombed  royally,  and  his 
body  was  conveyed  all  the  long  distance 
to  London  with  much  pomp  and  interred 
with  such  magnificence  that  the  Prior  and 
convent  received  £ioo  in  place  of  the 
horses  and  armour  usually  offered  at  such 
a  funeral. 

The  beautiful  and  costly  monument 
erected  by  Edward  III  for  this  young 
brother,  in  its  original  beauty  was  worthy 
of  a  king's  son.  It  consists  of  a  stone 
plinth  and  base,  bearing  shields  of  arms 
set  in  small  panels,  on  which  rests  the 
wooden  chest  containing  the  body.  Above 
it  is  a  slab  of  Purbeck  and  another  of  ala- 
baster,   on  which  is   the   alabaster   effigy, 

375 


Westminster  'Ahhcy 

now  cruelly  marred  by  scratched  Initials. 
A  triple  canopy,  similar  to  those  in  the 
Confessor's  chapel  once  crowned  the 
structure  but  was  so  badly  damaged  In 
1776,  at  the  funeral  of  the  Duchess  of 
Northumberland,  that  it  had  to  be 
removed. 

The  effigy  Is  Interesting  for  Its  artistic 
beauty  and  also  as  showing  with  accuracy 
the  military  costume  of  the  period.  The 
face  Is  rather  coarsely  carved,  the  eyes  and 
mouth  open.  The  head  rests  on  two  ala- 
baster cushions,  the  upper  one  supported 
by  two  adoring  angels,  beautifully  carved. 
The  feet  rest  on  a  lion:  the  legs  are 
crossed  below  the  knees.  The  coronet  Is 
interesting  as  being,  It  Is  said,  the  earliest 
example  known  In  which  the  ducal  straw- 
berry leaves  were  used.  From  the  cor- 
onet depends  a  mantling  with  tassels,  once 
coloured  red.  The  long  sword  has  a 
well-wrought  scabbard  and  a  jewelled  belt. 
The  large  heater  shield,  best  seen  from 
the  aisle,  bears  the  arms  of  England  and 
has  a  rich  border  of  fleur-de-lis.  The 
cyclas  Is  cut  shorter  in  front  than  at  the 
back:  beneath  it  is  the  gaubeson,  and  a 
coat  of  mail.  The  gauntlets  are  jointed: 
the  prick  spurs  are  buckled  to  the  feet: 
there  are  genouilles  to  protect  the  knees. 
So  sleeps  the  young  prince. 

376 


Chapels  of  the  South  Ambulatory 

Second  only  to  the  effigy  in  Interest  is 
the  beautiful  alabaster  arcade  surrounding 
the  wooden  chest,  under  each  of  whose 
arches  stands  an  alabaster  image  of  some 
royal  relative  of  the  young  prince.  The 
attitudes  and  costumes  are  varied  and 
graceful:  many  of  the  figures  are  crowned 
and  originally  there  were  six  kings  and 
four  queens.  Those  on  the  ambulatory 
side  are  in  the  best  state  of  preservation. 
All  are  wrought  of  the  choicest  alabaster 
a:nd  were  evidently  the  work  of  an  artist. 
The  English  relatives  of  the  prince  seem 
to  have  been  placed  on  the  north  side  of 
the  tomb:  his  French  relatives  on  the 
south.  Among  the  former  appear  his 
father,  Edward  II,  and  his  mother,  Isa- 
bella of  France,  one  of  the  few  represen- 
tations known  to  remain  in  England  of 
this  unscrupulous  queen.  She  appears  in 
widow's  garb,  but  wearing  a  crown  above 
her  hood  and  holding  a  sceptre  In  her  right 
hand.  The  statue  of  Edward  II  is  a 
miniature  of  that  on  the  king's  tomb  In 
Gloucester  cathedral :  the  hands  are  un- 
usually long  and  slender:  the  attitudes  of 
both  king  and  queen  are  those  somewhat 
Insistent  poses  which  were  usually  em- 
ployed in  representing  royalty  In  the 
Gothic  period. 

St.  Nicholas   Chapel,  the   eastmost   of 

377 


Westmimter  Ahbey 

the  radiating  chapels  In  the  south  aisle, 
contains  the  monuments  of  so  many  ladles 
of  title,  including  three  duchesses  and  four 
countesses,  that  it  might  well  be  called  the 
Chapel  of  Noble  Ladies.  Otherwise  no 
persons  of  great  distinction  or  overtopping 
merit  sleep  here  and  the  architectural  fea- 
tures of  the  cha:pel  repeat  those  of  St. 
Edmund's  both  in  design  and  in  being 
much  mutilated  by  the  placing  of  monu- 
ments. 

The  monastery  possessed  several  relics 
of  St.  Nicholas,  the  young  bishop  of  My- 
ra,  patron  saint  of  children:  a  finger  and 
other  parts  of  a  hand,  presented  by  Queen 
Eleanor:  also  oil  from  the  saint's  tomb 
and  a  tooth  and  finger-joint  given  by 
the  Prior  of  Winchester.  These  relics 
were  reverently  kept  by  the  altar  of  this 
chapel.  Whoever  attended  mass  at  this 
altar  was  granted  indulgence  for  three 
years  and  sixty  days.  The  altar  place  at 
the  east  end  is  now  occupied  by  tombs  and 
near  by  is  a  large  double  aumbry,  now 
blocked  up,  but  portions  of  its  hinges 
remain  to  identify  its  original  use. 

The  plan,  like  that  of  the  other  radiat- 
ing chapels  of  the  ambulatory,  includes  six 
of  the  eight  sides  of  an  octagon.  It  has 
four  lofty,  two-light  traceried  windows: 
the  original  wall  arcade  beneath  is  entirely 

378 


Chapels  of  tJw  South  Amhulatory 

obscured  by  large  monuments,  chiefly 
Elizabethan  or  Jacobean.  A  low  Per- 
pendicular stone  screen  of  open  panelling, 
with  cornice  and  a  mutilated  battlement, 
separates  the  chapel  from  the  aisle,  the 
cornice  set  with  very  small  shields. 

A  noble  Gothic  monument  on  the  right 
of  the  entrance  is  to  Philippa,  Duchess  of 
York  (d.  1431),  wife  of  Edward  Ill's 
grandson,  Edmund  Langley,  Duke  of 
[York,  who  was  killed  on  the  field  of  Agin- 
court.  The  lady  had  previously  been 
married  to  Sir  John  Golofre,  and  after 
the  death  of  the  Duke  she  became  the  wife 
of  Lord  Walter  Fitzwalter:  but  it  was 
doubtless  on  account  of  her  second  mar- 
riage that  she  was  granted  burial  in  this 
chapel.  Her  tomb  was  for  fifty  years  the 
only  one  here  and  at  that  time  stood  in 
the  centre  of  the  chapel.  After  the  death 
of  the  Duke  of  York  she  was  granted  the 
lordship  of  the  Isle  of  Wight,  succeeding 
her  husband,  and  resided  at  Carisbrook 
Castle. 

The  wide,  high  altar  tomb  of  the  Duch- 
ess, with  alabaster  effigy,  once  had  a  beau- 
tiful oak  canopy  (similar  to  that  of  Rich- 
ard II  across  the  aisle),  the  underside  of 
which  was  painted  blue  and  studded  with 
golden  stars;  and  in  the  midst  a  represen- 
tation of  The  Trinity  with  the  Crucifixion. 

379 


Westminster  Abhey 

The  supporting  columns  of  this  canopy 
were  detached  from  the  tomb  and  were 
broken  down  by  over-curious  spectators  at 
a  funeral  in  the  next  chapel.  The  ala- 
baster effigy  is  represented  in  long,  flow- 
ing robes  with  wimple  and  crimped  veil : 
the  head  rests  on  a  douMe  pillow  and 
despite  the  corrugated  folds  of  the  drap- 
ery in  this  early  figure  it  bears  a  certain 
feeling  of  dignity  and  repose.  The  stone 
base  of  the  tomb  is  decorated  with  tracer- 
ied  panels  containing  shields  of  arms,  all 
once  coloured  and  gilt.  The  pillow  has 
a  sixteenth  century  arabesque  and  is  prob- 
ably restored. 

The  Percy  Vault  in  this  chapel  is  the 
only  private  vault  in  the  Abbey  now  used 
for  interments.  There  are  two  Percy 
monuments. 

Elizabeth  Percy,  the  first  Duchess  of 
Northumberland  (d.  1776),  has  a  tomb 
built  by  the  famous  Robert  Adam,  whose 
name  is  well  known  to  collectors  of  furni- 
ture, and  contains  a  relief  of  the  Duchess 
bestowing  bread  and  alms  on  the  poor, 
while  the  sick  and  unfortunate  are  kneeling 
around  her.  Her  motto,  Esperance  en 
Dieii,  appears  above. 

Winifred,  Lady  Brydges,  Marchioness 
of  Winchester,  who  died  in  1586,  has  a 
small  monument  of  various  coloured  mar- 

380 


Chapels  of  the  South  Ambulatory 

bles  on  the  north  side  of  the  chapel,  with 
effigies  of  herself  and  children.  In  front 
of  the  monument  the  figures  on  the  three 
small  pedestals  are  her  son  and  daughters, 
and  a  little  chrism  child  lies  by  her  moth- 
er's feet  on  a  tiny  sarcophagus,  with  ruff, 
robes,  richly  tasselled  pillow  and  her  tiny 
hands  clasped  in  prayer. 

The  most  artistic  monument  in  the 
chapel  is  that  to  William  Dudley,  also 
called  Sutton  (d.  1483),  a  bishop  of  Dur- 
ham, son  of  the  eighth  Baron  Dudley,  and 
once  Dean  of  Windsor.  The  stone  altar 
tomb  under  the  south  window  has  panelled 
sides,  a  rich  triple-arched  canopy  and  an 
open  arcade  crowned  by  a  cornice  with 
cresting.  The  broad  Purbeck  slab  once 
bore  a  brass  figure  of  the  bishop. 

The  splendid  Villiers  monument  in  the 
midst  of  the  chapel  is  to  the  father  and 
mother  of  the  famous  Duke  of  Bucking- 
ham, "Steenie,"  favourite  of  James  I  and 
Charles  I.  Sir  George  Villiers  was  an 
honest  Leicestershire  squire  who  married 
for  his  second  wife,  Mary  Beaumont,  a 
dependent  relative  of  Lady  Beaumont's 
household.  The  lady's  haughty  spirit  and 
arrogance  were  evidently  transmitted  to 
her  son,  the  handsome  Duke.  Sir  George 
died  in  1606,  and  the  lady  married  and 
buried  two  husbands  thereafter.     When 

381 


Westminster  Abhey 

her  son  was  made  Marquis  by  King  James, 
he  obtained  for  her  the  title  of  Countess 
of  Buckingham  in  her  own  right,  and  her 
pride  in  this  condition  knew  no  bounds. 
She  died  in  1632,  four  years  after  the 
assassination  of  her  son,  having  spent 
much  care  and  £560  in  erecting  a  noble 
monument,  built  by  Nicholas  Stone,  to  her- 
self and  her  first  husband.  The  inscrip- 
tion stating  that  she  was  descended  from 
five  kings  of  England  is  regarded  as 
somewhat  nebulous. 

Mildred  Cecil  (d.  1588),  wife  of  the 
great  Lord  Burleigh,  and  her  daughter, 
Anne  (d.  1589),  Countess  of  Oxford 
have  a  large  sixteenth  century  monument 
of  coloured  marbles  on  the  south  wall. 
It  shows  very  little  beauty  to  represent  the 
two  gifted  and  beloved  women,  but  was 
considered  remarkable  in  its  day.  The 
monument  stands  twenty-four  feet  high,  of 
various  marbles,  consists  of  two  stories 
and  a  base,  and  bears  two  effigies  of  ala- 
baster, all  once  "sumptuously  gilt."  The 
effigies  rest  on  a  sarcophagus,  the  daugh- 
ter above  the  mother,  as  of  higher  rank. 
Lady  Burleigh  was  one  of  "the  four 
learned  daughters  of  Sir  Anthony  Cooke," 
and  appears  in  the  rich  costume  of  the  per- 
iod, painted  red:  both  ladies  have  decided 
Roman  noses:  their  hands  are  in  prayer, 
382 


Chapels  of  the  South  Ambulatory 

those  of  the  mother  being  particularly 
well  wrought.  At  the  feet  of  Lady  Bur- 
leigh kneels  the  effigy  of  her  son,  Robert 
Cecil,  and  over  his  head  is  the  motto, 
"Mors  janua  vita."  Over  the  mother  are 
represented  her  three  granddaughters, 
Elizabeth,  Bridget  and  Susannah,  with  the 
motto,  "Mors  mihi  liicem." 

Lord  Burleigh,  who  erected  the  monu- 
ment with  loving  care,  is  not  buried  here 
but  had  a  splendid  funeral  ceremony  per- 
formed for  himself  over  the  graves  of  his 
wife  and  daughter. 

Sir  George  Fane  (d.  1618)  and  wife. 
Lady  Elizabeth,  have  a  monument  against 
the  southeast  wall,  of  coloured  marble  and 
alabaster,  painted  and  gilt,  which  towers 
up  high  into  the  arch  of  the  window,  and  is 
similar  in  design  and  colour  to  the  Cecil 
monument. 

A  huge  Elizabethan  monument  of  darlc 
marble  stands  against  the  east  wall,  near 
the  old  altar,  to  Anne  Stanhope,  the  widow 
of  the  Protector  Somerset  (d.  1587). 
Note  the  effigy  with  coronet,  deep,  fur- 
lined  mantle  and  feet  against  a  castle  with 
portcullis.  The  Bourchier  knot  appears  In 
varipus  places.  There  are  numerous  dec- 
orations, beautifully  executed,  but  of  the 
grewsome  taste  of  the  period,  such  as  the 
hourglass,  funeral  torches,  pick-axe,  spade, 

383 


Westminster  Ahbey 

bell,  book,  thigh-bones,  roses  and  garlands. 
Up  aloft  are  two  ducal  coronets,  one  on 
each  side :  a  falcon  with  spread  wings  sits 
on  each,  but  one  has  lost  its  head.  The  pan- 
elled soffit  of  the  canopy  arch  is  decorated 
with  applied  figures.  The  inscription 
reads:  "A  princess  descended  of  noble 
lineage  .  .  .  here  lies  entombed  .  .  . 
Anne,  deare  spouse  unto  the  renowned 
Prince  Edward,  Duke  of  Somerset  .  .  . 
with  firm  faith  in  Christ,  in  most  mylde 
manner  rendered  she  this  life  at  ninety 
years  of  age  on  Easter  Day."  She  was 
a  lineal  descendant  of  Edward  III  through 
Thomas  Woodstock,  his  youngest  son, 
and  a  haughty,  proud  and  unmanageable 
lady.  Her  marriage  to  Edward  Seymour, 
brother  of  Henry  VIII's  queen,  Jane  Sey- 
mour, who  became  Duke  of  Somerset, 
placed  her  for  a  brief  period  high  in  royal 
circles,  having  the  King  for  her  brother- 
in-law,  and  her  pride  and  arrogance  ren- 
dered her  a  duchess  to  be  reckoned  with. 
But  when  her  husband,  the  Protector,  was 
beheaded  on  Tower  Hill  in  1551  for 
felonious  practice  against  his  nephew,  Ed- 
ward VI,  the  proud  lady  was  summarily 
imprisoned,  "no  man  grieving  thereat  be- 
cause her  pride  and  baseness  of  life  over- 
balanced her  piety."  The  Protector's 
wealth  was  seized  by  the  Crown,  though 

384 


Chapels  of  the  South  Ambulatory 

later  restored  in  part  to  her  favourite  son, 
Edward,  and  a  pitiful  allowance  was  made 
for  the  once  magnificent  Duchess. 

On  Mary's  accession  to  the  throne  she 
sued  for  pardon  and  was  released.  Shortly 
after,  in  1553,  she  married  Francis  New- 
digate,  who  had  been  in  her  father's 
household,  but  he  died  soon  after.  The 
old  Duchess  lived  on  to  the  age  of  ninety, 
dying  in  the  nineteenth  year  of  Elizabeth's 
reign.  She  was  born  in  the  reign  of 
Henry  VII  and  had  seen  the  coming  and 
going  of  Henry  VIII,  Edward  VI,  Mary, 
and  so  much  of  Elizabeth's  life,  with  all 
the  tremendously  important  events  and 
tragedies  connected  with  those  Tudor 
years:  her  life  might  be  called  an  epitome 
of  the  Tudors.  This  sumptuous  tomb  was 
erected  to  her  memory  by  her  oldest  son, 
Edward,  Earl  of  Hertford. 


38s 


CHAPTER  XVI 
HENRY  VirS  LADY  CHAPEL 

(Perpendicular  Gothic,  1503-1519) 

"The  bewtie  and  curious  contrived 
work  whereof  passeth  my  skill  to  set 
down:  so  sumptuous ,  so  curious  and  so  full 
of  exquisite  art  it  is,  both  within  and  with- 
out."— John  Norden,  1592. 

This  magnificent  Lady  Chapel,  built  by 
Henry  VII,  the  first  Tudor  king,  who 
reigned  1485-1509,  forms  the  extreme 
eastern  portion  of  the  Abbey  church. 

Few  places  in  England,  I  do  not  think 
of  one  other,  are  so  thronged  with  inti- 
mate memories  of  the  nation's  later  his- 
tory and  the  nation's  ennobled  and  royal 
dead,  as  this:  and  no  chapels  and  few 
churches  are  such  complete  representatives 
of  the  style  of  architecture  and  the  orna- 
ments of  the  age  in  whch  they  were  built. 
Few  buildings  are  so  thoroughly  English 
in  plan,  architecture,  ornament  and  asso- 
ciation. In  closing  one's  study  of  all  that 
the  chapel  contains  of  sculpture,  tracery, 
glass   and  monuments,   one  feels  that  a 

386 


o 


Henry  VIPs  Lady  Chapel 

large  volume  might  be  devoted  to  the 
study  of  this  one  chapel  alone  and  to  the 
memories  connected  with  the  prominent 
lives  of  those  who  rest  here. 

At  the  head  of  the  chapel  which  bears 
his  name  sleeps  the  royal  founder  with  his 
queen  by  his  side.  They  lie  so  nobly,  so 
richly  placed,  so  handsomely  environed, 
their  fine  bronze  faces  so  calm  and  re- 
poseful, their  hands  in  prayerful  attitude, 
the  tomb  so  securely  guarded  from  care- 
less or  profane  touch:  they  sleep  so 
soundly  after  what  was  truly,  for  these 
two,  "life's  fitful  fever,"  unmindful  of  all 
the  mighty  events  and  the  marvellous 
changes  in  the  four  centuries  since  their 
eyes  closed  upon  the  dear  English  land  t€< 
which  they  were  ever  loyal ! 

The  study  of  the  chapel  usually  begins 
with  the  laying  of  the  cornerstone:  but 
thus  to  approach  its  extended  history  is 
to  lose  a  very  large  portion  of  those  events 
which  give  it  the  interesting  perspective, 
at  the  end  of  which  lies  the  rich  double 
tomb  of  the  king  and  his  queen.  The  four- 
and-twenty  years'  reign  was  the  end,  not 
the  beginning,  of  these  two  lives.  And 
even  as  Henry  VII's  chapel,  when  viewed 
from  the  west  end  of  the  Abbey,  is  seen  to 
form  its  eastern  terminus,  so  does  its  his- 
tory move  on,  by  stately  steps  and  solemn 

387 


Westminster  Ahhey 

degrees,  through  nave,  choir,  sanctuary, 
the  Confessor's  chapel  with  its  Plan- 
tagenet  tombs,  until,  in  the  raised  chantry 
of  Henry  V,  the  second  Lancastrian  king, 
we  have  an  architectural  and  also  an  his- 
torical link  connecting  with  the  descend- 
ants of  the  Fifth  Henry's  queen  by  her  sec- 
ond husband  in  this  largest  chapel  of  all. 

Entrance  to  the  chapel  is  by  a  triple- 
archway  and  a  broad  flight  of  steps  at  the 
east  end  of  the  choir  ambulatory  to  a  wide 
Vestibule  Into  which  the  chapel  opens. 

The  archway  consists  of  a  wide  central 
and  two  smaller  lateral  arches  supported 
on  piers  which  help  sustain  the  chantry 
chapel  and  screen  of  Henry  V's  chantry 
above.  The  piers  are  of  especial  Interest 
because  they  represent  three  different 
periods  of  architecture :  first,  the  heavy 
round  Early  English  columns  and  their 
small  encircling  shafts  of  Henry  Ill's 
building,  as  seen  throughout  the  church, 
and  as  originally  placed  these  guarded 
the  doorway  of  the  Early  English  Lady 
chapel:  second,  columns  of  fifteenth  cen- 
tury design  having  moulded  capitals, 
added  in  order  to  strengthen  the  support 
when  the  chantry  was  built  above:  and 
third  the  Perpendicular  column  of  the 
early  sixteenth  century,  placed  here  when 
the  new  chapel  to  the  east  was  erected, 

388 


Henry  YIFs  Lady  Chapel 

and  which  served  not  only  to  give  addi- 
tional support  to  the  traceried  stone  vault 
but  also  to  harmonize  the  more  severe 
Early  English  architecture  at  the  west  with 
the  enriched  Perpendicular  features  of  the 
new   chapel   at   the   east. 

The  Steps  have  their  own  peculiar  inter- 
est. They  were  placed  here*  in  imitation 
of  the  Scala  Sancta  of  Pilate's  palace  in 
Jerusalem,  hallowed  by  the  footsteps  of 
our  Lord  when  Pilate  showed  him  to  the 
people,  saying  "Behold  the  Man!"t 

The  entire  wall  space  of  the  broad  vesti- 
bule at  the  top  of  the  stairs  is  decorated 
with  traveried  panels.  There  are  five 
enriched  doorways,  three  of  which  open 
into  the  central  aisle  of  the  chapel  and  one 
into  each  side  aisle.  On  all  sides  and  in 
the  vault  appear  sculptured  stone  bosses 
representing  the  numerous  Tudor  emblems 
and  traceried  designs  which  might  profit- 
ably occupy  an  hour's  study:  but  they  are 
repeated  again  and  again  in  the  better 
light  of  the  chapel  beyond  and  need  not 
detain    us     here.     Notice,   however,    the 

♦Leslie's  Catholic  Guide. 

fThe  original  marble  steps,  28  in  number,  are 
said  to  have  been  brought  to  Rome  from  Pilate's 
palace  in  Jerusalem  by  the  Empress  Helena  and  are 
now  preserved  in  St.  John  Latcran ;  they  are  pro- 
tected by  a  covering  of  wood  and  the  faithful 
mount  them  kneeling,  while  they  recite  a  Pater 
and  an  Ave  at  every  step. 

389 


Westminster  'Abbey 

beautiful  spandril  tracery  of  the  arched 
doorways:  the  tracery  and  ornaments  of 
the  frieze,  and  the  rich  arched  vault  of 
about  seventeen  feet  span. 

The  magnificent  Bronze  Gates  opening 
into  the  central  aisle  are  better  appreciated 
with  all  their  wealth  of  emblems,  badges, 
and  devices,  after  studying  the  history  of 
the  building  and  the  life  of  its  founder. 

The  first  impression  of  the  interior  of 
the  chapel  is  its  wonderful  lightness,  deli- 
cacy, richness  and  elegance.  Floods  of 
light  pour  down  from  the  broad  clerestory 
windows,  which  are  filled  with  pale  glass, 
illuminating  all  the  delicate  and  beautiful 
details  of  the  elaborate  carved  ornament, 
and  revealing  the  graces  of  traceried  stone 
and  oaken  crockets  and  pinnacles.  The 
lacelike  surface  of  walls  and  ceiling,  the 
beautiful  traceried  and  pinnacled  oak 
stalls:  the  silently  waving  banners  of  the 
Knights  of  the  Bath,  worn  and  faded  but 
reveahng  the  dim  colours  of  rich  tapes- 
tries: the  pale  stone  statues  of  saints  and 
angels  which  cluster  thickly  upon  the  walls 
above  the  tombs :  the  dim,  rich  and  solemn 
beauty  of  the  metal-guarded  monument  of 
the  king  and  queen  at  the  head  of  the 
chapel:  and  the  pleasant  suggestions  of 
ornament,  monuments  and  lovely  architec- 
tural details  in  the  apsidal  chapels  and  in 

390 


Henry  VII 

From  Vertue's  engraving  of  the  "Royal  Family  Piece,"  painted  by  Holbein 
on  the  walls  of  Wihilehall  Palace;  taken  from  the  copy  made  at  the  order  of 
Charles  II,  by  a  pupil  of  Van  Dyck. 


Henry  VIFs  Lady  Chapel 

the  side  aisles,  all  serve  to  enhance  the  first 
impressions  of  this  wonderful  Gothic 
chapel. 

The  Builder  of  the  Chapel  was  Henry 
VII,  but  not  as  he  lies  now  fairly  in  this 
chapel  of  his  rearing,  after  a  peaceful 
reign  of  two  and  twenty  years,  are  we  to 
form  our  estimate  of  this  king.  His  his- 
tory is  so  romantic  and  varied  among 
those  of  the  kings  of  England  that  it  is 
difficult  to  understand  how  Shakespeare 
could  pass  it  by. 

The  first  king  of  the  Tudor  line,  he 
came  not  easily  or  at  once  to  the  English 
throne.  His  father  was  not  a  king,  nor 
yet  his  grandfather:  nor  had  his  mother 
or  any  of  her  family  reigned  in  England, 
though  his  maternal  grandmother  was  the 
daughter  of  a  king  of  France.  He  came 
to  the  throne  in  1485,  after  the  hard- 
fought  battle  of  Bosworth  Field,  where  he 
defeated  and  slew  Richard  III,  he  being 
then  twenty-nine  years  of  age.  As  we  have 
seen,  he  was  the  grandson  of  Katherine 
of  Valois,  not  through  King  Henry  V,  but 
through  her  second  husband,  the  brave  but 
untitled  Welsh  soldier,  Owen  Tudor. 
Katherine's  eldest  son,  Edmund  Tudor, 
through  the  good  offices  of  his  half- 
brother,  Henry  VI,  was  created  Earl  of 
Richmond  and  was  married  to  Margaret 

391 


Westminster  Abbey 

Beaufort,  the  gifted,  beautiful  and  wealthy 
heiress  of  the  House  of  Somerset.  Their 
only  son  was  the  child  who  became 
Henry  VII,  the  first  king  of  the  Tudor 
line. 

He  was  born  at  Pembroke  Castle  In 
Wales  in  1456.  "As  a  child  of  three,  his 
mother  presented  him  to  the  young  King, 
Henry  VI,  his  uncle,  who  solemnly  blessed 
him,  and  placing  his  hand  on  the  child's 
head,  said,  "This  pretty  boy  will  wear  the 
garland  In  peace  for  which  we  sinfully  con- 
tend."* He  was  said  to  be  of  a  cheerful 
and  courageous  countenance,  his  hair  yel- 
low like  burnished  gold,  his  eyes  gray, 
shining  and  alert. f 

In  order  to  protect  her  son,  next  heir 
of  the  House  of  Somerset,  from  the  hos- 
tile house  of  York,  his  mother  permitted 
him  to  be  placed  in;  the  care  of  his  uncle 
(the  father  having  died  very  young),  Jas- 
per, Earl  of  Pembroke,  who  took  him  to 
the  castle  of  his  birthplace  In  Wales.  This 
uncle  proved  his  lifelong,  valuable  and 
faithful  friend,   a  man  of  high  Integrity 

*Holinshed. 

fHenry  VII  never  forgot  his  Welsh  parentage. 
He  was  ever  favourable  and  helpful  to  the  Welsh 
interests,  and  under  his  son,  Henry  VIII,  says  Cam- 
den, they  were  admitted  to  an  equal  share  in  laws 
and  liberties  "with  us  English."  A  pedigree  was 
studied  out  for  this  king  by  careful  heralds,  so  ex- 
tended that  "Noah  figured  about  midway." 

392 


Hemry  VI Ps  Lady  Chapel 

and  loyalty.  The  Castle  of  Pembroke 
was  soon  after  stormed  and  taken  by  the 
Yorkists  under  Sir  William  Herbert,  and 
the  earldom  taken  from  Jasper  and  pre- 
sented to  Sir  William.  The  Lady  Her- 
bert, "a  good  and  merciful  lady,  though  a 
Yorkist,  yet  first  of  all  honourable  and 
noble,"  received  the  lonely  child  to  her 
arms  and  brought  him  up  with  her  three 
sons  and  six  daughters,  and  young  Henry 
was  instructed  "in  all  kinds  of  civility  and 
well  and  honourably  educated."  He 
became  very  fond  of  the  kindly  Herberts, 
and  later  deeply  attached  to  the  daughter. 
Lady  Maud,  whom  he  wished  to  marry: 
and  later  (since  Maud  had  married  the 
Earl  of  Northumberland)  he  sought  the 
Lady  Katherine,  her  youngest  sister. 

The  peaceful  home  life  at  Pembroke  Cas- 
tle was  rulely  interrupted  when  Henry  was 
fourteen  by  the  murder  of  Sir  William 
Herbert,  and  later  his  uncle  Jasper 
returned  to  the  castle  and  his  Earldom. 
Again  the  castle  was  besieged  by  the  York- 
ists and  uncle  and  nephew  barely  escaped 
with  their  lives  to  Wales  and  thence  to 
France,  where  they  were  shipwrecked  on 
the  coast  of  Brittany.  Here  they  were  at 
first  hospitably  received  by  Duke  Francis: 
but  for  the  twelve  long  years  following, 
while   Henry  was  between   fourteen   and 

393 


Westminster  Ahhey 

twenty-six,  they  were  virtually  imprisoned 
or  at  least  their  liberty  successfully 
restrained  by  order  of  Edward  IV,  who 
paid  Duke  Francis  a  yearly  pension  for 
the  young  Earl's  safe-keeping.  An  at- 
tempt of  the  English  king  to  have  Henry 
murdered  on  a  voyage  to  England  was 
frustrated  through  the  friendship  of  Duke 
Francis:  and  Henry  sought  sanctuary  at 
the  convent  of  St.  Malo.  Here,  realizing 
that  his  life  was  in  great  danger  and  that 
plans  were  constantly  being  made  to 
beguile  him  from  his  place  of  refuge,  he 
resolved  to  prepare  himself  to  take  orders 
in  the  Church  and  whiled  away  the  lonely 
hours  of  his  captivity  in  the  study  of 
Latin  and  the  learning  of  the  day.  "The 
danger  passed  away,  the  learning  re- 
mained to  his  future  benefit." 

In  1485,  after  the  death  of  Edward  IV, 
by  the  advice  and  support  of  his  mother 
in  England  and  of  the  French  Queen- 
regent,  Henry  collected  a  fleet  to  sail  for 
England  and  claim  his  right  to  the  throne. 
He  landed  in  Wales  with  his  uncle,  Jas- 
per, went  on  to  Tamworth  and  was 
received  joyfully  by  the  people,  who  were 
suffering  under  the  cruelties  of  Richard 
III.  At  Redmore  Heath,  near  Bosworth 
(not  far  from  Birmingham),  young 
Henry    of    Richmond,    now    twenty-nine 

394 


Henry  VIPs  Lady  Chapel 

years  of  age,  met  the  proud  Yorkist,  Rich- 
ard III,  brother  of  Edward  IV  (who  in 
order  to  clear  his  own  path  to  the  throne 
had  murdered  the  princes  in  the  Tower, 
his  nephews),  at  the  head  of  an  army  of 
thirteen  thousand  men,  about  twice  the 
size  of  Henry's  army.  King  Richard 
rode  a  magnificent  white  charger  and  was 
clad  in  the  same  suit  of  burnished  steel 
armour  he  wore  at  the  battle  of  Tewkes- 
bury: on  his  helmet  was  borne  a  regal 
crown. 

High  courage  was  needed  on  the  part 
of  the  long-exiled  prince  to  encounter  his 
strong  adversary  who  had  an  army  more 
than  double  that  which  he  commanded: 
for  until  the  outset  of  the  battle  it  was  not 
known  whether  the  forces  of  Lord  Stanley, 
his  stepfather,  were  to  be  on  the  side  of 
the  White  Rose  of  York  or  the  Red  Rose 
of  Lancaster.  The  result  of  the  battle  is 
well  known.  After  Richard  was  slain, 
the  proud  crown  on  his  helmet,  concealed 
by  one  of  his  soldiers  in  a  hawthorne  bush, 
was  discovered  and  carried  to  Lord  Stan- 
ley (or,  as  some  say.  It  was  found  by  Sir 
Reginald  Bray,  who  gave  it  to  Lord  Stan- 
ley), who  placed  it  on  the  young  Earl  of 
Richmond's  head,  proclaiming  him  King, 
to  the  great  joy  of  his  people.  "But  if  the 
extreme  poverty  of  Richard  III  had  per- 

395 


Westminster  Ahhey 

mitted  him  to  continue  the  pension  to  the 
Duke  of  Bretagne,  it  is  to  be  feared  that 
the  crown  of  England  and  the  hand  of  the 
'lovely  Lady  Bessy'  would  never  have  been 
won  by  Henry  Tudor."* 

The   new   king   at  once    displayed   his 
strength  and  his  dignity  as  an  independent 


THE  TUDOR  ROSE 

sovereign  of  England,  for  he  was  crowned 
in  his  own  right,  October  30,  1485,  a  few 
months  after  the  victory  at  Bosworth, 
while  his  marriage  to  Elizabeth  of  York, 
through  whom,  as  the  Yorkists  supposed, 
he  was  to  gain  his  title  to  the  kingdom, 
uniting  the  white  rose  and  the  red,  did 
not  take  place  until  January  18,  i486, 
and  he  purposely  deferred  the  queen's 
coronation  until  November,  1487.  The 
Yorkists  were  much  displeased  by  these 
delays  and  the  fact  that  the  new  King  had 
chosen  to  be  crowned  without  any 
acknowledgment  of  the  title  he  derived 
from  his  betrothal  to  the  daughter  of 
♦Strickland. 


Henry  VI Ps  Lady  Chapel 

Edward  IV.  But  the  King  at  once 
secured  Parliamentary  recognition  of  his 
right  in  a  declaration  that  the  inheritance 
was  "to  be,  rest  and  abide  in  King  Henry 
VII  and  his  heirs." 

His  delay  in  fulfilling  his  marriage  pact 
occasioned  some  uneasiness  on  the  part  of 
Lady  Bes€y,  as  she  was  familiarly  called, 
who  had  heard  of  his  desire  to  marry  one 
of  the  ladies  Herbert,  his  boyhood  friends, 
and  also  of  his  interest  in  an  heiress  of 
Brittany.  Uneasiness  was  also  apparent 
in  the  nation  at  large.  It  is  said  that 
when  Christmas  following  the  King's  cor- 
onation approached  and  no  preparations 
for  the  wedding  had  yet  been  made,  the 
King  being  in  the  House  of  Commons,  the 
latter,  through  one  of  their  number  peti- 
tioned him  to  take  the  princess  to  wife,  as 
agreed:  and  all  the  members  solemnly 
arose  and  bowed  to  the  King,  indicating 
that  the  wish  was  unanimous. 

The  marriage  was  joyfully  celebrated. 
Cardinal  Bourchier  officiating,  and  all 
London  was  gay  with  decorations  and 
fetes  and  bonfires.  The  nation  rejoiced 
that  the  Queen,  after  a  young  life  filled 
with  sorrow  and  distress,  uncertainty  and 
peril,  twice  in  sanctuary  with  her  mother, 
pursued  by  the  enmity  of  her  cruel  uncle, 
Richard,  now  came  to  the  dignified  state 

397 


Westminster  Ahhey 

of  the  most  honoured  lady  in  the  kingdom. 
And  the  King,  his  youthful  ardors  tem- 
pered by  the  long  years  of  captivity  and 
uncertainty,  proved  himself  vigorous  in 
mind  and  body,  one  of  the  wisest  princes 
of  his  age,  so  that  he  was  called  the  Solo- 
mon of  England. 

His  twenty-four  yea:rs  reign  was  an  era 
of  prosperity  and  peace.  The  Wars  of 
the  Roses  were  over:  the  country  longed 
for  rest.  The  young  King  and  Queen, 
for  the  first  time  in  many  years,  one  might 
almost  say  for  the  first  time  in  their  lives 
(she  was  twenty  and  he  thirty  at  this  time) 
were  in  no  mood  for  anything  that  did  not 
savour  of  tranquility.  It  was  a  marvel- 
lously progressive  age.  The  invention  of 
printing:  the  use  of  gunpowder,  changing 
the  whole  art  of  warfare:  the  study  of  the 
classic  languages:  the  discovery  of  a  new 
passage  to  the  East  Indies:  the  capture  of 
Constantinople  by  the  Turks,  driving  the 
Greeks  to  seek  refuge  in  Italy  with  their 
tastes  for  art,  literature  and  science,  and 
in  particular  the  discovery  of  America, 
"the  most  memorable  incident  that  hap- 
pened in  this  or  any  other  period  .  .  . 
an  event  that  produced  the  greatest  altera- 
tion in  the  affairs  of  Europe"  ...  all 
these,  though  not  depending  on  or  influ- 

398 


Henry  VIFs  Lady  Chapel 

enced  by  the  English  king,  marked  the  era 
in  which  he  reigned  as  one  of  the  most 
important  in  history.  The  power  of  the 
Commons  was  materia:lly  increased  at  this 
time.  People  of  lesser  degree  than  the 
barons,  enriched  by  the  increase  of  com- 
merce, were  able  to  purchase  rich  estates 
of  the  nobles  who  had  been  impoverished 
during  the  long  years  of  the  Wars  of  the 
Roses,  and  thus  became  of  much  greater 
consequence  in  the  kingdom.* 

Henry's  interest  In  navigation  and  dis- 
covery is  well  known,  as  is  the  fact  that 
in  1 501,  when  negotiations  were  in  prog- 
ress for  the  marriage  of  the  heir  of  the 
English  throne  and  the  Spanish  princess, 
Catherine  of  Aragon,  Columbus  dis- 
patched his  brother,  Bartholomew,  to 
England  with  a  map,  in  order  to  arouse 
the  King's  interest  and  gain  assistance: 
but  the  English  King  unhappily  refused  to 
be  at  any  charge  in  the  matter,  "suppos- 
ing the  learned  Columbus  to  build  castles 
in  the  air."  f  One  authority  states 
that  Henry  joyfully  granted  assistance: 
but  that  as  Bartholomew  was  returning 
with  the  good  news  to  Spain,  his  ship  was 
molested  by  pirates  and  before  he  could 

*Astle. 

tCastel's  Short  Discovery  of  America. 

399 


Westminster  Ahhey 

continue  his  journey,  Spain  had  agreed  to 
supply  the  necessary  aid.* 

Later,  in  1497,  he  sent  the  Venetian 
Cabots  on  the  voyage  which  resulted  in 
the  discovery  of  Labrador,  but  England 
was  then  a  small  country  and  had  not  suffi- 
cient wealth  to  utilize  the  discovery. 

Henry  VII  died  at  fifty-four,  not  an  old 
man  as  years  go,  but  "woful  and  wasted" 
through  the  loss  of  his  dearly  loved  son, 
Prince  Arthur,  and  his  queen.  He  is 
said  to  have  accumulated  wealth  equal  to 
nine  million  dollars  of  our  money. 

The  Founding  of  the  Chapel.  The 
King  had  three  objects  in  building  this 
chapel,  as  his  Will  clearly  states. 

Primarily  he  intended  it  in  honour  of 
the  Blessed  Virgin  Mary,  and  its  exact 
title,  long  since  out  of  use,  is  The  Lady 
Chapel  of  Henry  VII.  To  the  special 
grace  and  mercy  of  the  Virgin  Mary,  the 
king  in  his  Will  makes  his  agonized  ap- 
peal, since  in  her,  next  after  her  Son,  he  has 
constantly  sought  refuge.  "I  beg  that  she 
will  now,  in  my  most  extreme  hour  of 
need,  of  her  infinite  pity  take  my  soul  into 
her  hands  and  it  present  unto  her  most 

*Columbus  is  reported  to  have  said  that  Henry 
wrote  him  a  letter  of  acceptance  but  it  was  then  too 
late  as  he  had  already  received  the  promise  of  aid 
from  the  Spanish  Queen.  —  Nichols'  Sebastian 
Cabot. 

400 


Henry  VIPs  Lady  Chapel 

dear  Son:  Wherefore  (he  continues), 
sweetest  Lady  of  Mercy,  Very  Mother 
and  Virgin,  Well  of  Pity  and  Surest 
Refuge  of  all  needful,  most  humbly,  most 
entirely,  most  heartily  I  beseech  thee,"  etc. 
The  King's  intention  is  also  clearly  stated 
later  on  in  the  Will,  where  he  refers  to 
the  chapel,  "which  we  have  begun  to  build 
anew  in  the  honour  of  our  Blessed  Lady." 
With  this  appeal  to  the  Virgin  and  the 
dedication  in  her  honour  the  King  includes 
various  other  saints,  in  particular  ten, 
whom  he  considered  his  especial  patrons, 
"mine  accustomed  avoures,  to  whom  I  call 
and  cry,"  viz.,  St.  Michael,  St.  John  the 
Baptist,  St.  Anthony,  St.  John  the  Evange- 
list, St.  Edward,  St.  Vincent,  St.  Anne,  St. 
Mary  Magdalene  and  St.  Barbara,  all  of 
whom  are  represented  on  his  tomb,  in  the 
Imagery  of  his  chapel  and  probably  altars 
were  dedica:tedto  them  in  various  parts  of 
the  chapel. 

The  second  object  in  building  the 
chapel,  as  mentioned  in  the  king's  Will, 
is  that  he  desires  to  honour  the  church  in 
which  he  and  other  kings  have  been 
crowned  and  in  which  so  many  kings  are 
buried:  and  In  particular  because  "here 
resteth  .  .  .  the  body  of  our  grand- 
dame  of  right  noble  memory,  wife  to  King 
Henry  V  and  daughter  to  King  Charles  of 
France." 

401 


Westminster  Abhey 

The  pitiful  story  of  this  beautiful  queen 
Is  told  in  connection  with  her  burial  in 
Henry  V's  chantry,  Chapter  XIV.  An  altar 
tomb  to  her  memory  was  built  in  the  Early 
English  Lady  chapel  by  her  son,  Henry 
VI.  This  tomb  was  demolished  by  her 
grandson,  Henry  VII,  In  order  to  make 
way  for  his  new  chapel:  also,  "It  Is  very 
probable  that,  as  the  inscription  implied 
that  she  died  a  widow  and  not  a  wife.  It 
occasioned  the  demolition  of  the  tomb  un- 
der the  reign  of  her  grandson,  since  Henry 
VII's  descent  was  not  from  Henry  V  and 
Henry  VI  never  acknowledged  Owen 
Tudor  as  his  stepfather."  Yet  It  is  cer- 
tain that  the  Queen's  body  was  not  dis- 
turbed at  this  time  because  the  Will  of 
Henry  VII  distinctly  alludes  to  his  grand- 
mother as  burled  in  this  chapel  and  he 
evidently  Intended  to  restore  her  monu- 
ment on  the  completion  of  the  chapel.  But 
he  died  before  his  chapel  was  finished  and 
at  about  this  time  the  queen's  body  was 
exhumed,  found  to  be  in  a  remarkable 
state  of  preservation  and,  Henry  VIIl  not 
Interfering,  It  was  for  many  years  exhib- 
ited as  a  curiosity  to  whoever  would  pay 
for  the  privilege  (v.  Chap.  XIV).  At 
length,  however,  it  was  removed  to  a 
vault  In  the  south  ambulatory  and  later, 
by  Dean  Stanley's  care,  reverently  placed 
In  the  chantry  chapel  of  her  husband. 
402 


Henry  VIFs  Lady  Chapel 

Thus  the  Intention  of  Henry  VII  to  pro- 
vide a  stately  home  for  the  memory  of  his 
grandmother  was  frustrated  by  the  indif- 
ference of  Henry  VIII. 

Henry  VI  and  the  Chapel.  The  third 
object  in  building  this  chapel,  and  the  sec- 
ond figure  in  this  marvellously  rich  his- 
torical drama  is  Henry  VI,  the  oldes-t  son 
of  Katherine  of  Valois  and  her  only  child 
by  Henry  V  and  his  successor  on  the  throne, 
the  last  of  the  Lancastrian  kings.  Into 
this  new  chapel,  says  the  Will,  "we  pro- 
pose right  shortly  to  translate  the  body  and 
relics  of  our  uncle  of  blessed  memory,  King 
Henry  VI."  The  translation  could  not  have 
occurred  at  this  period,  and,  as  the  will 
was  written  only  twelve  days  before  the 
death  of  Henry  VII,  there  is  no  good 
reason  for  supposing  that  it  took  place  in 
the  brief  remnant  of  life  then  remaining 
to  him. 

In  order  to  understand  Henry  VIFs 
relation  to  this  King  it  must  be  recalled 
that  Queen  Katherine's  three  sons  by 
Owen  Tudor  were  at  first,  after  the  death 
of  their  mother,  shamefully  neglected  by 
the  Court  and  no  provision  made  for  their 
maintenance.  But  when  the  Abbess  of 
Barking,  to  whose  care  they  were  commit- 
ted, brought  their  neglected  condition  to 
the  notice  of  Henry  VI,  their  half-brother, 

403 


Westminster  Ahhcy 

he  gave  them  into  the  care  of  "discreet 
priests  to  be  brought  up  chastely  and  vir- 
tuously." Later,  Henry  VI  created  Ed- 
mund, the  eldest.  Earl  of  Richmond,  gave 
him  the  heiress  of  Somerset  in  marriage, 
andj  as  we  have  seen,  their  child  became 
Henry  VII. 

Thus  while  the  relation  of  Henry  VI  to 
the  founder  of  this  chapel  was  not  of  close 
blood  kindred,  yet  the  seventh  Henry  had 
great  reason  to  be  grateful  to  his  royal 
uncle  for  many  kindnesses  to  his  father. 
Henry  VII's  title  to  the  throne,  if  such 
ever  existed,  was  gained  rather  through  his 
mother,  Margaret  Beaufort,  or  through 
his  wife,  daughter  of  Edward  IV.  But 
another  reason  inspired  Henry  VII  in 
thus  naming  the  chapel  in  connection  with 
Henry  VI.  The  latter,  though  but  a  weak 
and  trivial  king,  was  gentle,  pious,  pure 
and  clean  in  thought  and  life  from  child- 
hood to  his  latest  years,  and,  in  a  degen- 
erate age,  was  ever  faithful  to  his  queen. 
He  acquired  a  great  reputation  for  sanc- 
tity, spent  much  time  in  study,  and  "in 
heavenward  contemplation":  saw  visions 
and  had  moods  of  religious  ecstacy,  very 
much,  it  would  seem,  after  the  manner  of 
Edward  the  Confessor.  The  services  of 
his  church  were  to  him  a  sweet  delight :  on 
feast  days  he  wore  a  hair  shirt  underneath 
404 


Henry  YIFs  Lady  Chapel 

his  robes,  to  mortify  his  body:  he  was 
especially  devoted  to  the  English  saints 
and  had  arranged  for  the  canonization  of 
St.  Osmond.  Warfare  and  bloodshed 
were  abhorrent  to  his  holy  nature,  and 
while  he  had  few  qualifications  for  a  king 
he  had  many  for  a  mediaeval  saint  and  was 
revered  as  such  by  the  most  devout  of  his 
people. 

The  manner  of  his  death — it  is  said  that 
he  was  stabbed  to  death  before  the  cross 
in  the  chapel  in  the  Hall  Tower,  presum- 
ably by  order  of  Richard  of  Gloucester  or 
Edward  IV — at  once  won  him  the  name  of 
martyr.  His  body  was  first  taken  to 
Chertsey  Abbey  for  burial,  where  pilgrims 
came  in  great  numbers  and  many  miracles 
were  wrought.  In  particular  he  was  wor- 
shipped as  a  saint  in  Yorkshire,  where 
numerous  images  of  him  were  placed  in 
the  churches,  as  at  Durham,  Bungay,  Ri- 
pon  and  York.  At  York  minster  an  altar 
was  dedicated  to  the  king,  and  an  old 
service  book  of  this  period  contains 
prayers  and  a  hymn  to  this  monarch. 

Later,  in  1504,  interest  in  the  martyred 
king  revived.  The  body  had  been  re- 
moved from  Chertsey  Abbey  to  St. 
George's,  Windsor,  and  there  was  a  great 
concourse  of  pilgrims  to  the  tomb,  not  only 
from  England  but  from  lands  beyond  the 

405 


Westmmster  Abbey 

sea.  Offerings  were  made  and  many  em- 
inent miracles  reported,  "the  blind  were 
made  to  see,  the  deaf  to  hear  and  the  lame 
to  walk." 

All  these  statements  having  come  to  the 
notice  of  the  Pope,  Julius  II,  he  issued  a 
Commission  in  1504  to  inquire  into  the 
matter  with  reference  to  the  canonization 
of  the  late  King  and  the  erection  of  a  suit- 
able shrine  to  receive  his  body.  Henry 
Vll's  devotion  to  the  king's  memory 
revived  at  this  period.  Gratitude  to  this 
uncle  and  half-brother  of  his  young  father, 
whose  friendly  care  and  acknowledgment 
had  wrought  important  and  enduring 
changes  in  the  prospects  of  the  descend- 
ants of  the  Welsh  soldier  and  the  French 
queen,  moved  him  deeply.  He  began  to 
arrange  for  a  rebuilding  of  the  Lady 
chapel  at  the  east  end  of  St.  George's, 
Windsor,  intending  to  make  that  the  place 
of  his  own  sepulture. 

But  at  this  stage  of  the  proceedings  both 
Westminster  Abbey  and  Chertsey  Abbey 
laid  claim  to  the  saint's  body,  the  former 
on  the  righteous  ground  that  Henry  VI 
had  carefully  selected  the  place  of  his  own 
burial  in  the  chapel  of  Edward  the  Con- 
fessor: and  Chertsey,  because  Richard  III 
had  removed  the  body,  without  the  con- 
sent of  the  monastery,   from  its  original 

406 


Henry  YIFs  Lady  Chapel 

resting-place.  The  decision  was  in  favour 
of  Westminster  and  to  this  Abbey  Henry 
VII  now  transferred  his  interests  and 
plans.  Here  he  would  found  a  new  Lady 
chapel,  enrich  it  with  a  glorious  shrine  for 
the  saint,  and  here  raise  a  noble  chantry 
tomb  for  himself  and  his  queen,  and  here, 
according  to  his  Will,  he  proposed  "right 
shortly  to  translate  .  .  .  the  body  and 
reliques  of  his  uncle  of  blissful  memory, 
King  Henry  VI." 

The  Pope  granted  a  license  for  remov- 
ing the  body,  but  there  is  no  record  to 
show  that  the  canonization  was  ever 
effected.  The  convent  of  Westminster 
contributed  £5000,  in  present  value, 
towards  the  removal,  and  though  certain 
records  seem  to  show  that  this  was  accom- 
plished, the  balance  of  proof,  especially  as 
gathered  from  the  wills  of  Henry  VII  and 
Henry  VIII,  is  against  It :  and  the  tradition 
which  says  that  the  body  of  Henry  VI  still 
remains  in  the  south  aisle  of  St.  George's, 
Windsor,  is  undoubtedly  correct. 

These  three  objects  of  the  King  in 
founding  the  chapel  were  soon  defeated: 
for  with  the  Dissolution  of  the  monastery 
under  Henry  VII's  son,  thirty  years  after 
the  father's  death,  all  services  in  honour 
of  the  Virgin  Mary  and  the  ten  patron 
saints  were  done  away  with :  the  body  of 

407 


Westminster  Ahhey 

the  grandmother  was  never  honoured,  ac- 
cording to  the  King's  second  purpose  in 
the  new  chapel,  since  he  died  before  the 
building  was  finished:  and  the  canonization 
and  translation  of  Henry  VI  were  also 
set  aside. 

The  real  meaning  of  the  chapel,  as  it 
has  stood  for  four  centuries,  Is  as  a  monu- 
ment to  the  founder,  a  tomb  for  himself 
and  his  queen  and  for  his  successors  to 
the  throne.  He  intended  that  none  but 
those  of  royal  blood  should  be  here  buried, 
but  seventy  others  have  shared  that  hon- 
our with  their  sovereigns.  Here,  in  its 
office  as  a  Royal  Mausoleum,  are  buried 
seven  kings,  nine  queens,  forty  royal  chil- 
dren and  numerous  other  members  of 
English  royal  families.  Here,  first  of  all 
to  seek  its  shelter,  lies  the  honoured,  and 
beloved  mother  of  the  founder.  Lady 
Margaret  Beaufort:  here,  seven  kings.  In 
order,  Edward  V,  Henry  VII,  Edward 
VI,  James  I,  Charles  II,  George  11,  and 
William  of  Orange :  and  nine  queens,  in 
their  order,  Elizabeth  of  York,  queen  of 
Henry  VII:  Mary:  Elizabeth:  Mary 
Queen  of  Scots:  Mary,  wife  of  William 
of  Orange:  Anne:  Anne  of  Denmark, 
queen  of  James  I:  Elizabeth  of  Bohemia, 
daughter  of  James  I:  and  Caroline,  queen 
of  George  II.     Anne  Hyde,  the  first  wife 

408 


Henry  VIFs  Lady  Chapel 

of  James  II,  was  also  buried  here,  but  she 
died  before  the  king  came  to  his  throne 
and  was  never  called  queen,  though  two 
of  her  daughters,  Mary  and  Anne,  had 
that  honour. 

The  forty  royal  children  include  the  two 
princes  murdered  in  the  Tower,  one  of 
whom,  Edward  V,  has  been  named  among 
the  kings:  four  children  of  Charles  I:  ten 
of  James  II :  and  eighteen  of  Queen  Anne. 

For  all  these  kings  and  queens  there  are 
but  three  monuments,  viz.,  one  for  the 
founder  and  his  queen:  one  for  Mary 
Queen  of  Scots  and  one  for  Mary  and 
Elizabeth.  The  princes  in  the  Tower  have 
a  small  monument:  and  each  of  the  two 
infant  daughters  of  James  I  has  a  beauti- 
ful memorial  in  the  north  aisle.  Not  even 
an  inscription  marked  the  resting-place  of 
the  remaining  members  of  royal  families 
until  the  time  of  Dean  Stanley,  who  caused 
the  name  and  date  of  death  of  many  of 
these  to  be  inscribed  on  the  paving  stones 
above  their  respective  graves. 

No  royal  burials  have  taken  place  here 
since  the  time  of  George  II.  Modern 
royalty  has  sought  less  public  places  of 
interment.  Queen  Victoria  and  Edward 
yil  are  buried  at  Windsor.* 

*It  is  a  somewhat  remarkable  fact  that  no  Eng- 
lish sovereign  has  ever  been  buried  in  St.  Paul's, 
the  cathedral  church  of  this  capital  city  of  England. 

409 


Westminster  "Abbey 

After  the  term  Lady  chapel  ceased  to 
be  used,  and  prayers  to  the  Virgin  were  no 
longer  offered  here,  the  chapel  was  for  a 
time  called  St.  Saviour's,  and  it  was  used 
not  wholly  as  sacred  or  for  worship  but 
for  special  occasions  and  events  as  the  con- 
secration of  bishops  and  the  initial  meet- 
ings of  the  Houses  of  Convocation  of  Can- 
terbury. On  the  revival  of  the  Order  of 
the  Bath,  this  was  made  the  chapel  of  the 
Order,  and  the  Dean  of  Westminster,  ex 
officio,  the  Dean  of  the  Order.  The  ban- 
ners of  the  Knights  of  the  Bath  are  still 
hanging  over  the  stalls:  the  names  of 
knights  and  esquires  are  still  on  their  cop- 
per plates  and  the  Dean  wears  the  broad 
red  ribbon  and  insignia  of  the  Order 
though  the  ceremony  of  installation  here 
was  long  discontinued. 

Marriages  and  christenings  of  persons 
actually  resident  within  the  Abbey,  as  in  the 
families  of  the  Dean  and  canons:  and  con- 
firmations of  Westminster  School  boys 
may  take  place  here.  Burials  are  not  "of 
right"  in  any  part  of  the  Abbey,  the  privi- 
lege being  granted  by  the  Dean  "to  per- 
sons of  great  and  world-wide  celebrity  and 
distinction."* 

The  History  of  the  Fabric.     "In  1503, 

♦For  information  on  this  and  some  other  points, 
I  am  indebted  to  the  Chapter  Clerk. 

410 


Henry  YIFs  Lady  Chapel 

the  twenty-fourth  day  of  January,  a  quar- 
ter of  an  hour  afore  three  of  the  clock,  at 
afternoon  of  the  same  dale,  the  first  stone 
of  our  ladie  chapell  within  the  monastery 
of  Westminster  was  laid  by  the  hands  of 
John  Islip,  Abbot."* 

This  is  the  second  Lady  chapel  on  the 
same  site.  In  Edward  the  Confessor's 
time  the  custom  of  honouring  the  Virgin 
by  a  special  chapel  had  not  come  into 
general  observance.  In  the  latter  part  of 
the  twelfth  century  the  practice  had  be- 
come almost  universal. 

An  Early  English  Lady  chapel,  called 
the  chapel  of  St.  Mary,  was  built  here,  the 
foundation  stone  being  laid,  in  1220,  by 
the  young  prince  of  thirteen  who  became 
Henry  III,  the  old  Norman  church  of  the 
Confessor  still  standing  to  the  west,  prob- 
ably in  good  condition.  The  chapel  was 
built,  not  by  the  King,  but  at  the  expense 
of  the  monastery,  and  indulgences  were 
issued  to  subscribers.  When  completed, 
it  was  as  large  as  the  present  chapel,  less 
the  side  aisles  and  the  eastern  apsidal 
chapel,  and  terminated  in  a  three-sided 
apse,  t4ie  foundations  of  which  were  dis- 
covered in  1876.  It  had  a  timber  roof  at 
first  and  two  altars,  besides  the  principal 

*Holinshed's  Chronicle. 

411 


Westtninster  Ahhey 

altar,  dedicated*  to  St.  Adrian  and  St. 
Michael,  and  two  great  paintings  for  the 
main  altar,  made  by  Peter  of  Spain  before 
1272,  for  which  he  w^as  paid  £80. 
Twenty  tapers  shone  on  the  beam  before 
the  high  altar  and  others  were  placed  "in 
the  hands  of  the  angels."  Abbot  Ber- 
kyng  was  the  principal  builder. 

This  Early  English  Lady  chapel,  it  must 
be  remembered,  was  standing  throughout 
the  period  of  Henry  Ill's  rebuilding  of  the 
choir  and  nave,  and  on  through  the  com- 
pletion of  the  entire  west  end  and  cloister, 
until  1 503.  Its  beauty  may  have  appealed 
forcibly  to  the  young  King,  whose  interest 
in  the  Abbey  would  naturally  be  aroused 
at  the  time  when  he  laid  the  first  stone  of 
the  chapel  with  his  boyish  hands:  and  may 
possibly  have  been  one  of  the  inciting 
causes  of  his  magnificent  undertaking  to 
rebuild  the  church  itself. 

A  little  chapel  dedicated  to  St.  Erasmus 
had  been  erected,  either  close  to  or  else 
within  this  chapel,  by  Elizabeth  Woodville, 
queen  to  Edward  IV,  and  mother  of  the 
queen  of  Henry  VII,  who  had  found  sanc- 
tuary at  Westminster  in  her  days  of  dis- 
tress, and  three  of  whose  children  are  bur- 
ied here  where  one,  Edward  V,  was  born. 

To  make  room  for  Henry  VIFs  new 

♦Matthew  Paris. 

412 


Henry  VIPs  Lady  Chapel 

chapel,  this  Early  English  building  of 
Henry  III,  with  the  little  chapel  of  St. 
Erasmus,  was  torn  down:  also  a  small 
house  in  which  the  poet  Chaucer  spent  the 
last  year  of  his  life,  referred  to  in  his 
lease  dated  1399  as  "the  tenement  in  a 
garden,"  closely  adjoining  the  Lady 
chapel:  and  an  old  Inn  close  by  known  as 
The  White  Rose,  adjoining  Chaucer's 
house. 

The  chapel  was  begun  in  1503,  and, 
with  the  altar  and  the  king's  monument, 
completed  not  far  from  15 19,  though  the 
main  portion  was  undoubtedly  finished  at 
least  ten  years  before  this  time.  Pope 
John  II  issued  a  Bull  granting  the  same 
indulgence  to  those  who  visited  this  new 
chapel  that  was  usually  granted  to  those 
who  visited  the  church  of  Scala  Coeli  in 
Rome. 

The  material  used  was,  for  the  founda- 
tion, Kentish  rag  stone:  for  the  plinth, 
Kentish  stone  from  near  Maidstone:  for 
the  corbels  and  flying  buttresses.  Huddle- 
stone  stone  from  Yorkshire:  and  for  the 
great  superstructure,  Caen  stone  from 
Normandy. 

Condition  of  the  Chapel  at  the  King's 
Death.  The  King  died  in  April,  1509, 
having  spent  six  years  on  the  building:  and 
so  far  as  we  are  able  to  judge,  the  greater 

413 


Westminster  Abhey 

part  of  the  main  structure  was  complete  at 
that  date.  In  the  will  he  makes  particular 
mention  of  the  glazing  of  the  windows 
"with  stories,  images,  badges  and  cogni- 
zances," according  to  a  pattern  which  he 
had  already  given  to  Prior  Bolton  of  St. 
Bartholomew's:  and  also  gives  particular 
directions  as  to  his  tomb,  which  seems  to 
have  been  scarcely  begun.  We  know  that 
the  altar  was  not  undertaken  until  after 
the  tomb,  and  the  Will  refers  to  the 
closure  or  screen  of  copper  and  gilt  "after 
the  fashion  that  we  have  begone." 

The  King  also  urges,  in  the  Will,  the 
completion  of  the  chapel,  as  soon  as  pos- 
sible after  his  decease,  now  much  nearer 
than  he  had  anticipated.  And  he  directs 
that  doors,  windows,  vaults  and  statues, 
both  within  and  without,  be  adorned  with 
arms  and  badges:  hence  we  may  suppose 
that  the  numerous  bosses  and  ornaments 
representing  the  Tudor  emblems  were 
largely  wrought  after  his  death.  He 
mentions  In  the  Will  that  he  has  already 
advanced  £5500  to  Abbot  Islip  for  con- 
tinuing the  work  and  directs  his  executors 
to  add  such  sums  as  may  be  necessary  for 
its  completion. 

The  glazing,  stone  ornaments  and  the 
tomb  and  altar  must  therefore  have  pro- 
ceeded under  Henry  VIII,  but  doubtless 

414 


Henry  YII's  Lady  Chapel 

the  young  king  would  have  little  personal 
supervision  of  the  chapel.  The  only  fact 
that  we  have  to  guide  us  as  to  the  probable 
date  of  the  chapel's  completion  is  that  a 
contract  was  made  with  Torregiano  for 
the  high  altar,  March  ii,  15 17:  and  that 
in  a  later  Contract  with  this  same  artist 
for  a  tomb  to  be  erected  for  Henry  VIII 
and  Catherine  of  Aragon,  dated  January 
5,  15 19,  there  is  a  reference  to  "the  tomb 
which  the  same  Peter  Torregiano  before 
made  and  finished  for  Henry  VII." 
Hence  we  may  reasonably  suppose  that 
both  chapel  and  tomb  were  finished  before 
1 5 19  and  probably  the  altar  as  well:  and 
that  the  main  structure  was  complete  in 
15 17,  when  the  contract  for  the  altar  was 
made. 

The  architect  of  the  chapel  is  variously 
named  by  different  authorities  but  no  one 
knows  the  precise  truth  of  the  matter.  Sir 
Reginald  Bray  (who,  at  the  moment  of 
victory  at  Bosworth  Field  which  won  the 
throne  for  Henry  VII,  brought  to  Lord 
Stanley  the  crown  of  Richard  III)  prob- 
ably had  much  to  do  with  this  plan.  He 
was  a  statesman  and  architect,  possessed 
of  great  wealth,  devoted  to  art,  liberal 
and  highly  esteemed  by  the  King,  who 
made  him  High  Steward  of  the  Univer- 
sity of  Oxford,   Knight  of  the  Bath  and 

41S 


Westminster  Ahhey 

of  the  Garter.  He  had  previously  been 
Receiver-General  and  Steward  of  the 
Household  to  Sir  Henry  Stafford,  the 
second  husband  of  Henry  VII's  mother. 
His  benefactions  to  churches  and  colleges 
were  many:  and  his  skill  as  an  architect 
is  evidenced  in  the  design  of  St.  George's, 
Windsor,  which  has  fan  vaults  in  the  side 
aisles  and  in  which  he  lies  burled:  in  the 
nave  and  aisles  of  St.  Mary's,  Oxford, 
and  in  the  choice  Perpendicular  chantry 
of  Prince  Arthur  of  Worcester  cathedral 
both  of  which  are  attributed  to  him'.  Un- 
doubtedly Bishop  Alcock  whose  lovely  f an- 
traceried  chapel  at  Ely  was  built  from  his 
own  design,  had  some  connection  with  the 
plan.  He  had  been  Comptroller  of  the 
Royal  Works  and  Buildings  before  Sir 
Reginald,  was  intimately  associated  with 
the  King,  and  had  built  much  at  Cam- 
bridge. Prior  Bolton  of  St.  Bartholo- 
mew's, who  had  been  a  great  builder  at 
Canonbury,  Harrow  and  St.  Bartholo- 
mew's, succeeded  Bray  as  Comptroller  and 
the  chapel  was  built  under  his  direction. 
Cottingham  divides  the  honours  of  the 
design  between  Bray  and  Alcock.  The 
latter  died  in  1500,  before  the  first  stone 
was  laid:  and  Sir  Reginald  in  1503,  when 
the  work  was  barely  begun.  But  it  is 
reasonable  to  suppose  that  the  plan  of  the 
416 


Henry  VIFs  Lady  Chapel 

chapel  was  due  to  the  two  Comptrollers, 
each  of  whom  had  already  built  in  the 
same  style  elsewhere,  the  king  being  a 
member  of  the  council,  and  that  Prior 
Bartholomew  directed  the  completion  of 
the  work.  While  it  is  undoubtedly  true 
that  the  architect,  as  a  distinct  official,  was 
not  known  in  the  earlier  Middle  Ages 
(Gotch),  and  that  the  work  was  divided 
up  among  several  workmen,  yet  I  see  no 
ground  for  following  a  recent  writer  who 
assigns  the  plan  of  this  noble  chapel  to 
a  master  mason. 

While  the  architect  may  not  be  named 
with  certainty,  we  know  something  of 
those  who  carried  out  his  plans.  Three 
master  workmen  or  masons  are  named  as 
employed  on  the  chapel,  Robert  Vertue, 
Robert  Jenins  and  John  Lebons.  Both 
architect  and  workmen  must  have  been 
marvellously  skillful  in  order  to  produce 
this  intricate  and  complex  design  and  its 
expression  in  an  almost  infinite  variety  of 
detail. 

This  delicate  gem  of  architecture,  so 
rich  and  beautiful  when  complete  with  all 
its  furnishings,  had  but  a  brief  history  in 
its  first  magnificence.  After  the  Dissolu- 
tion of  the  monastery  in  1540,  the  ex- 
terior was  gradually  suffered  to  fall  to  de- 
cay. No  longer  were  heard  here  the  sweet 

417 


Westminster  Abhey 

voices  of  priests  whom  the  royal  founder 
had  appointed  to  sing  masses  for  his  soul 
so  long  as  the  world  should  endure.  The 
rich  plate,  crucifixes,  tapestries,  images  of 
gold  and  silver,  the  sparkling  glass,  were 
either  conveyed  away,  broken  up  or  else 
melted  and  marred.  Sir  Christopher 
Wren  wrote  concerning  the  chapel*  that 
it  was  "a  nice  embroidered  work  and  per- 
formed with  tender  Caen  stone,  and 
though  lately  built  in  comparison,  is  so 
eaten  up  by  our  weather  that  it  begs  for 
some  compassion,  which  I  hope  the  sov- 
ereign power  will  take,  as  it  is  the  Regal 
Sepulture." 

But  the  century  rolled  on  and  another 
and  another  began,  witnessing  its  further 
decay,  until,  In  the  early  years  of  the  nine- 
teenth century,  it  had  become  a  neglected 
and  almost  shapeless  mass  and  the  beau- 
tiful traceried  roof  was  perishing  when 
Dean  Vincent  petitioned  the  Lords  of  the 
Treasury  for  money  to  save  it  from  total 
ruin.  The  Abbey  had  suffered  much  from 
fire  in  1803,  and  funds  were  urgently 
needed  for  the  main  structure,  hence  none 
could  well  be  spared  for  the  chapel.  The 
report  made  by  the  Dean  and  chapter 
seems  to  indicate,  however,  that  it  was 
chiefly  the  exterior  that  was  affected,  while 

♦Parentalia,  new  edition,  p.  158. 
418 


Henry  VIPs  Lady  CJiapel 

the  interior  was  "without  break  or  settle- 
ment." The  windows  had  decayed  so 
that  they  had  to  be  propped  up  by  timbers 
and  the  turrets  and  buttresses  were  in  such 
a  lamentable  condition  that  passers-by 
were  endangered  by  the  falling  of  stones. 

Between  the  years  1807  and  1823  re- 
pairs were  arranged  for:  the  beautiful 
vaulted  ceiling  was  protected,  during  the 
progress  of  the  external  repairs,  by  a  tim- 
ber platform  which  was  inserted  be- 
tween the  wood  and  stone  roofs  for  the 
entire  length  of  the  chapel.  The  esti- 
mated cost  of  repairing  a  single  buttress 
was  £668.  Wyatt,  the  destroyer  of  so 
much  beautiful  Gothic  architecture  in 
England,  work  whose  beauty  neither  he 
nor  the  deans  and  chapters  who  employed 
him  and  permitted  the  destruction  appre- 
ciated, was  allowed  to  cut  down  much  of 
the  fine  Imagery,  especially  of  the  exterior. 
With  the  carefulness  exercised  in  cathe- 
dral restorations  today,  much  might  well 
have  been  repaired  and  restored  to  almost 
its  original  beauty.  So  thoroughly  was 
the  exterior  rebuilt  that  today,  after  a 
lapse  of  more  than  ninety  years,  it  seems 
like  a  work  of  yesterday  In  its  uncompro- 
mising freshness  and  hardness  of  line. 

For  these  extensive  repairs.  Parliament 
granted  £2000,  to   which  later  additions 

419 


Westminster  Abbey 

were  made  until  the  entire  sum  expended 
was  £42,000. 

The  original  cost  of  the  building  was 
£14,000,  equal  to  at  least  £70,000  in  pres- 
ent value.  The  external  length  of  the 
chapel  is  one  hundred  and  fifteen  feet  two 
inches:  height  of  vault,  sixty  feet  seven 
inches,  and  of  the  roof,  eighty-five  feet  five 
inches.  The  aisles  are  sixty-two  feet  five 
inches  long  and  seventeen  feet  two  inches 
broad. 

The  Plan.  It  is  quite  worth  while  to 
sit  down  on  one  of  the  old  oak  seats  in  the 
lower  range  of  stalls  which  have  furnished 
relief  to  many  a  modern  pilgrim,  in  order 
to  gain  a  general  idea  of  the  chapel  before 
attempting  to  study  its  details. 

Its  shape  is  rectangular  with  a  rounded 
or  apsidal  east  end  and  it  consists  of  a 
broad  main  aisle  or  nave  of  four  wide  bays 
with  side  aisles:  and  an  apse  formed  by 
five  radiating  chapels.  At  the  east  end  of 
the  main  aisle,  behind  the  modern  altar, 
stands  the  principal  object  of  the  chapel, 
the  rich  tomb  of  Henry  VII  and  his 
queen,  enclosed  within  a  metal  grille. 

The  main  aisle  Is  built  in  two  lofty 
stages,  a  main  arcade  and  a  clerestory. 
Between  the  two  runs  a  very  richly  sculp- 
tured triforium  band,  of  the  sort  so  popu- 
lar in  the  late  Decorated  and  the  Perpen- 
dicular periods,  consisting  of  an  unbroken 

420 


Henry  VIPs  Lady  Chdpel 

range  of  canopied  niches  containing  large 
stone  figures  on  lofty  traceried  pedestals, 
and  below  them,  a  series  of  demi-angels 
with  extended  hands  which  seem  to  be 
grasping  the  various  Tudor  emblems. 
This  sculptured  range  extends  entirely 
around  the  chapel's  main  aisle  and  apse 
and  at  the  east  end  of  the  aisles. 

A  wide,  lofty  and  beautiful  panelled 
arch  rises  between  the  main  bays  of  the 
aisle  and  the  apse,  adding  much  to  the  gen- 
eral appearance  of  the  interior,  the  broad 
soffit  being  enriched  with  canopied  figures 
on  beautiful  pedestals. 

The  main  arcade  of  four  bays  consists 
of  low,  broad  arches  resting  on  piers  of 
such  delicate  proportions  that  they  sug- 
gest no  usefulness.  The  clerestory  is 
wide  and  lofty,  having  a  continuous 
series  of  broad,  five-light  windows 
with  traceried  transoms.  The  West  win- 
dow occupies  nearly  all  the  west  wall  space 
and  below  it  may  be  traced  two  of  the 
original  twelve  consecration  crosses. 

Low  stone  screens  once  separated  each 
of  the  five  apsidal  chapels  from  the  main 
aisle,  but  only  parts  of  two  now  remain. 
The  side  aisles,  originally  opening  to  the 
main  a;isle,  are  now  shut  off  by  the  long 
range  of  lofty  choir  stalls  and  must  be 
entered  from  the  vestibule. 

The    main     structure    of    the    chapel 

421 


Westminster  Ahhey 

was  built  in  about  nine  years  and  is 
throughout  of  the  Late  Perpendicular 
Gothic  style,  richly  embellished  with 
carved  stone  images  and  Tudor  emblems. 
The  prominent  characteristics  of  the  style 
were  fully  established  and  no  experiments 
were  necessary.  The  architect  understood 
the  problems  with  which  he  had  to  deal 
and  could  afford  to  enrich  as  he  desired. 
Many  notable  works  had  been  produced 
which  he  might  imitate  with  success.  The 
Perpendicular  choir  of  York  had  been 
standing  complete  for  an  entire  century 
when  this  chapel  was  begun:  Canter- 
bury's noble  nave  and  main  transept, 
Gloucester's  lovely  choir  and  the  Win- 
chester nave,  all  in  this  style,  very  nearly 
as  long. 

It  was  a  style  well  adapted,  especially 
in  its  latest  developments,  to  the  rich  orna- 
ment necessary  in  a  small  structure,  in 
which  sculptured  detail  was  not  too  far 
removed  from  the  range  of  the  eye.  The 
traceried  vault  was  also  most  effectively 
employed  in  such  buildings  since  its  ten- 
dril-like designs  would  not  be  so  wholly 
lost  sight  of  as  in  a  great  architectural 
composition. 

The  architect  of  this  chapel  introduced 
several  unusual  features  in  his  building  for 
which  we  owe  him  a   debt  of  gratitude. 

422 


Henry  VIFs  Lady  Chapel 

Instead  of  the  rectangular  apse  usual  at 
this  period,  he  went  back  to  an  earlier 
French  idea,  employed  by  Henry  III  in 
the  main  structure  of  the  church,  and  gives 
us,  not  an  exact  rendering  of  that  model, 
but  five  polygonal  radiating  chapels  at  the 
east,  in  perfect  harmony  with  the  chevet 
of  the  choir,  but  by  their  very  beautiful 
broken  outline  forming  a  choice  and  ele- 
gant termination  to  the  great  Gothic  struc- 
ture. Moreover,  the  outline  of  his 
external  wall,  as  seen  in  the  plan,  is  curi- 
ously and  cunningly  caused  to  wave  in  and 
out,  both  in  aisles  and  chapels,  irregular 
yet  symmetrical,  with  most  pleasing  effect, 
by  the  simple  expedient  of  a  series  of 
angled  bay  windows  which,  when  filled 
with  fine  coloured  glass,  must  have  been 
of  superior  elegance  and  beauty,  and  well 
adapted  to  the  entire  structure. 

Again,  while  he  gives  us  a  very  ample 
clerestory,  fitted  with  windows  so  wide 
and  so  lofty  as  to  form  an  almost  unbroken 
wall  of  glass,  according  to  the  custom  of 
the  period,  and  thus  furnishing  ample  light 
to  disclose  the  delicate  beauties  of  the  inte- 
rior decorations,  he  also  provides  a  trifor- 
ium  stage  almost  as  ample,  on  which  to 
display  his  rich  array  of  sculptured  images 
and  emblems.  He  gives  us  remarkable 
gates,  a  feature  not  usually  employed  with 

423 


Westminster  Ahhey 

distinction  in  the  Perpendicular  chapel: 
and  a  vault  of  almost  transcendant  delicacy 
and  beauty  over  it  all.  He  panels  all  his 
walls  so  that  no  area  is  left  unadorned:  his 
windows  are  transomed  and  traceried  in 
the  most  elaborate  fashion  of  this  late 
style:  and  as  if  working  under  the  imme- 
diate eye  of  a  king  who  realized  that  his 
title  to  the  throne  was  not  altogether  unas- 
sailable, he  places  everywhere,  on  the 
bosses  of  his  vault,  in  the  quarries  of 
his  windows,  in  the  hands  of  the  stone 
angels  and,  no  doubt,  on  the  original 
tiles  of  his  pavement,  the  emblems  of  York 
and  Lancaster,  the  Nevilles,  Cadwallader, 
Beaufort,  etc. 

Yet  so  carefully  has  this  architect 
grouped  his  figures  and  so  nicely  calculated 
his  effects  that  no  appearance  of  heaviness 
or  of  over-ornamentation  is  produced.  It 
is  a  royal  chapel  built  from  the  royal 
treasury,  furnished  by  royal  hands,  and  it 
is  to  furnish  a  resting-place  for  those  who 
have  lived  royally,  in  splendid  palaces: 
been  crowned  with  magnificent  ceremony, 
and  moved  in  the  centre  of  all  that  was 
grand  and  stately  in  the  world.  For  such 
we  expect  a  fitting  place  for  the  solemn 
burial,  and  here  we  find  entombed  kings, 
queens,  and  princes  and  princesses  many. 
And  here  and  there  a  noble  soul,  not  of 
424 


Henry  VIPs  Lady  Chapel 

the  blood  royal,  but  of  nature's  royalty 
such  as  an  Addison  and  a  Cromwell,  or 
Cromwell's  sweet  daughter  has  been 
offered  a  last  resting-place  among  Eng- 
land's sovereigns. 

The  Nave  Is  entirely  shut  off  from  the 
side  aisles  and  seems  to  be  a  chapel  by 
itself.  It  measures  fifty-five  feet  four 
inches  In  length,  thirty-four  feet  six  inches 
in  width  and  is  sixty  feet  high.  The  main 
arch  of  the  entrance  Is  eleven  feet  across : 
the  side  arches  four  feet  three  inches.  A 
great  arch  at  the  east  separates  the  four 
principal  bays  from  the  eastern  chapels  in 
the  apse,  its  sides  and  soffits  being  en- 
riched with  canopied  niches  containing  fig- 
ures of  the  same  sort  as  those  in  the  tri- 
forlum  stage. 

The  Imagery.  "I  trust  to  the  singular 
mediation  and  prayers  of  all  the  company 
of  heaven."— Henry  VII's  Will. 

The  triforlum  stage  or  border  contains 
a  very  interesting  series  of  those  saints 
and  holy  men  and  women  to  whom  the 
King,  in  his  Will,  did  particularly  "call  and 
cry,"  with  many  others. 

The  Figures  in  the  main  aisle  are  about 
three  feet  high,  those  In  the  side  aisles, 
where  they  ma:y  have  served  as  reredoses 
for  the  small  altars,  and  in  the  eastern 
chapels,  are  five  feet  and  stand  on  elabo- 

425 


Westminster  Ahhei/ 

rately  carved  and  pierced  stone  pedestals  of 
much  beauty.  Over  them  arch  lovely  stone 
vaulted  canopies.  Originally  the  figures 
were  one  hundred  and  seven  in  number, 
and  ninety-five  still  remain  in  good  preser- 
vation, being  out  of  harm's  way.  Crom- 
well, however  great  his  dislike  to  blas- 
phemous images  of  saints,  may  have 
desired  that  the  chapel  in  which  he  pro- 
posed to  make  his  burial  and  that  of  his 
family  should  retain  most  of  its  charm. 
The  names  on  the  labels  of  the  images 
have  disappeared. 

The  workmanship  is  of  varying  excel- 
lence, "from  very  good  to  very  bad." 
The  earliest,  possibly  from  the  Early  Eng- 
lish Lady  chapel,  are  of  Reigate  stone  and 
of  loftier  proportions  than  the  latest, 
which  are  of  Caen  stone.  The  series  is 
an  important  one,  whatever  its  date,  and 
next  to  that  on  the  west  front  of  Wells 
cathedral,  is  the  largest  collection  of 
mediaeval  sculptured  saints  now  remaining 
In  England.  The  figures  are  often  indi- 
vidual, full  of  expression  and  remarkably 
well  preserved.  A  few  are  selected  for 
mention. 

Five  figures  in  the  Second  bay  on 
the  south  side  include,  first,  St.  James 
the  Great,  in  the  usual  pilgrim's 
garb,     because     he     was     the     first     of 

426 


Henry  VII-s  Lady  Chapel 

the  apostles  to  begin  the  work  of  evan- 
gelization: and  also  in  allusion  to  the  pop- 
ular pilgrimages  to  his  shrine  at  Compos- 
tella.  The  broad  hat  is  turned  up  in  front 
and  is  decorated  with  a  scallop  shell :  the 
scrip  is  at  his  right  side,  with  staff  and 
rosary  and  he  bears  the  crossed  keys,  usu- 
ally the  emblem  of  St.  Peter.  The  third 
figure  is  called  St.  Hubert  of  Liege,  with 
his  emblem,  the  stag,  in  allusion  to  the  fact 
that  in  youth  he  had  been  passionately 
fond  of  hunting.  The  legend  is  that 
while  pursuing  this  pleasure  in  Holy  Week, 
"while  good  Christians  were  at  their  devo- 
tions," a  vision  of  the  Crucifixion  suddenly 
aippeared  to  him  between  the  horns  of  a 
milk-white  stag,  and  this  resulted  in  his 
conversion.  The  same  story  is  told  of  St. 
Eustace,  as  in  the  mural  painting  in  the 
north  aisle  of  Canterbury  cathedral:  but 
Eustace  is  represented  as  a  Roman  soldier, 
while  St.  Hubert  is  in  episcopal  robes,  as 
in  this  image.  St.  Hubert  is  the  patron 
saint  of  the  chase  and  also  of  dogs.  It 
was  supposed  that  bread  blessed  at  his 
shrine  would  heal  those  afflicted  with 
hydrophobia.  The  saint  is  here  repre- 
sented bearing  a^  veiled  pastoral  staff,  while 
the  stag  rests  his  head  confidingly  against 
one  whom  he  no  longer  fears.  The  fourth 
figure  is  that  of  St,  Anthony,  a  venerable 

427 


Westminster  Abbey 

man  with  long  beard,  bearing  a  book  and 
a  bell,  with  the  pig,  his  emblem,  at  his  feet. 
The  bell  was  to  drive  away  evil  spirits: 
the  pig,  a  symbol  of  base  appetites  which 
he  resisted  during  a  long  life  of  one  hun- 
dred and  four  years,  seventy-five  of  which 
were  spent  in  the  desert. 

In  the  Third  bay,  the  first  figure  is  that  of 
St.  Amphibalus,  the  early  Christian  priest 
who  converted  St.  Alban,  and  like  him  was 
a  martyr  to  his  faith  In  the  reign  of  Diocle- 
tian. He  is  reading  from  an  open  book: 
at  his  left  is  a  double-crank  windlass,  sug- 
gesting his  martyrdom.  The  third  figure 
is  that  of  St.  Hugh  of  Lincoln,  with  mitre 
and  crozler,  and  a  book  from  which  he 
reads:  at  his  feet  is  his  emblem,  a  swan, 
with  outspread  wings.  The  fifth  figure  is 
St.  Dunstan,  Archbishop  of  Canterbury 
(d.  988),  holding  the  nose  of  a  writhing 
demon  in  pincers.  While  a  monk  at  Glas- 
tonbury, this  saint  became  very  proficient 
in  metal  working  and  the  devil  came  to 
tempt  him  as  he  wrought  at  his  forge, 
when  the  saint  seized  him  with  red-hot 
pincers. 

In  the  Fourth  bay,  the  second  figure  is 
that  of  St.  Laurence  (d.  258),  reading  a 
book  which  rests  on  a  gridiron,  the  emblem 
of  his  martyrdom.  He  was  of  Spanish  birth 
and  in  youth  served  the  Pope  as  deacon: 
428 


Henry  VIPs  Lady  Chapel 

hence  he  is  here  represented  In  deacon's 
robes,  the  bordered  dalmatic  worn  over  an 
alb,  and  a  maniple  on  his  arm.  He  was 
called  "the  courteous  Spaniard"  because  of 
the  legend  that  when  his  sarcophagus  was 
opened  after  his  death  in  order  to  receive 
the  relics  of  St.  Stephen,  he  moved  to  the 
left,  thus  giving  the  place  of  honour  at  his 
right  hand  to  the  saint.  The  third  figure 
is  St.  John  the  Baptist,  one  of  the  King's 
patron  saints,  and  the  fifth,  probably  St. 
Mary  Magdalene,  with  very  long  hair, 
richly  jewelled  turban,  bearing  a  box  (of 
ointment)  and  a  napkin.  Her  robe  Is  tied 
with  a  tasselled  sash.  There  is  a  tradi- 
tion that  she,  with  a  company  of  other 
Christians,  was  set  adrift  by  Pagans  in  a 
boat  without  sails  or  rudder,  and  left  to 
die :  but  that  the  boat  floated  to  Marseilles, 
where  she  spent  the  last  thirty  years  of  her 
life  in  solitude  In  penance  for  her  sins. 
She  is  the  patron  saint  of  Marseilles. 

This  brings  us  to  the  great  sculptured 
arch  which  separates  the  four  bays  of  the 
main  aisle  from  the  five  small  apsldal 
chapels  at  the  east.  The  soffit  of  this 
great  arch  is  set  with  canopied  figures  like 
those  in  the  principal  series,  all  wrought 
with  much  delicacy.  The  first  figure  in  the 
principal  series  is  that  of  St.  Hilary,  robed, 
429 


Westminster  Ahhey 

with  mitre  and  staff,  her  right  hand  point- 
ing upward. 

Over  the  first  arch  in  the  apse  on  the 
North  side  are  four  figures  of  women: 
Susannah,  bearing  the  palm  of  martyrdom 
and  by  her  side  a  small  block  on  which 
rests  her  dissevered  head:  St.  Margaret, 
one  of  the  Four  Virgin  Patronesses,  terri- 
bly tortured  for  her  faith  and  thrown  into 
a  dungeon  where  a  huge  dragon  appeared 
to  frighten  her,  but  vanished  when  she 
held  up  the  sign  of  the  cross.  She  was 
finally  beheaded,  but  "in  all  her  torments 
ceased  not  to^  speak  to  the  people  of  her 
Lord,  and  multitudes  accepted  Christ 
through  her  words."  She  is  represented 
crowned  and  treading  under  foot  a  dragon, 
which  is  biting  the  shaft  of  the  cross  in 
her  hand.  A  beautiful  group  follows:  St. 
Anne  teaching  her  little  daughter,  the  Vir- 
gin Mary,  to  read.  Figures  and  faces  are 
delicately  sculptured  and  very  attractive. 
The  child  stands  before  the  mother  and  is 
reading  aloud.  St.  Catherine,  the  beauti^ 
ful  Christian  queen  of  Alexandria,  has  her 
right  hand  resting  on  a  wheel  to  which  she 
was  bound,  but  it  took  fire  miraculously 
and  the  executioner  and  three  thousand 
others  perished.  She  was  finally  beheaded. 
She  Is  said  to  have  been  so  learned  that 
"she  could  have  answered  all  those  things 

430 


Eenry  VIPs  Lady  Chapel 

which  the  Queen  of  Sheba  proposed  to 
Solomon."  When  she  was  dead,  ''angels 
took  up  her  body  and  carried  it  over  the 
desert  and  over  the  Red  Sea  till  they 
deposited  it  on  the  summit  of  Mt.  Sinai. 
There  it  rested  in  a  marble  sarcophagus, 
and  in  the  eighth  century  a  monastery  was 
built  over  her  remains."  She  was  a  pop- 
ular mediaeval  saint  and  in  England  alone 
fifty-one  churches  were  dedicated  to  her. 
She  is  here  represented  trampling  under 
foot  the  Emperor  Maximian  in  allusion 
to  her  triumph  over  paganism.  St.  Philip 
is  represented  here  as  an  old  man  with 
spectacles,  reading,  and  bearing  the 
martyr's  cross. 

In  the  Central  or  eastern  arch  of  the 
apse,  our  Lord  is  represented  with  his 
mother  and  his  chief  apostles.  The  central 
figure  is  our  Lord  (one  of  the  few  images 
of  this  sort  suffered  by  the  Puritans  to 
remain  in  the  churches),  a  venerable  man 
enthroned  with  his  feet  on  the  orb  of  the 
earth.  On  one  side  stands  the  Virgin,  in 
a  rich  robe,  her  long  hair  flowing:  on  the 
other,  the  Annunciation  is  represented. 
The  outermost  figures  are  St.  Peter  with 
book  and  key:  and  St.  Paul,  with  a  book 
and  the  sword  of  his  martyrdom. 

The  figure  of  Noah,  in  the  Second  arch, 
the  third   figure,   is  perhaps   one   of  the 

431 


Westminster  Ahhey 

earlier  series  since  It  Is  almost  the  exact 
counterpart  of  this  patriarch  as  carved  on 
the  west  front  of  Wells  cathedral  and  also 
as  he  appears  In  the  old  sculptures  on  the 
west  front  of  Lincoln  cathedral.  He 
wears  a  cap  with  ear-lappets  and  holds  up 
the  hull  of  the  ark  which  he  Is  building. 

St.  Uncumber  or  Wllgefortis,  called  also 
St.  LIberata,  was  the  beautiful  Christian 
daughter  of  a  king  of  Portugal  In  the  sec- 
ond or  the  fourth  century  to  whom  women 
who  wished  to  be  rid  of  their  bad  husbands 
prayed.  Her  father,  wishing  to  make  peace 
with  Sicily,  offered  the  king  his  daughter 
in  marriage:  but  Wllgefortis  desired  to 
devote  her  life  to  religion  and  prayed  to 
be  freed  from  the  king's  Importunities 
through  some  bodily  defect  which  should 
render  her  unattractive.  In  answer  to 
her  prayers  a  beard  was  granted  her.  The 
angry  fa:ther  caused  her  to  be  crucified 
on  a  Tau  cross,  which  is  represented  in  the 
sculpture  as  her  emblem.  Because  unde- 
sirable husbands  were  supposed  to  be 
carried  away  by  horses  furnished  by  the 
evil  one,  oats,  the  food  of  horses,  were 
offered  at  her  shrine.  She  is  very  seldom 
represented  in  collections  of  saints  but  a 
famous  image  of  her  once  existed  at  St. 
Paul's.  She  is  painted  on  one  of  the 
wings  on  a  P'teta  at  Bruges,  attributed  to 

432 


Henry  VII's  Lady  Cliapel 

Memling,  with  SS.  Barbara,  Adrian  and 
Mary  of  Egypt.  In  this  chapel  she 
appears  resting  her  book  on  the  Tau  cross 
of  her  martyrdom.* 

On  the  south  soffit  of  the  arch,  the 
lower  figure  on  the  east  side  is  St.  Jerome, 
in  cardinal's  robes,  with  book  open  on  a 
reading-desk,  and  holding  a  stylus  in  one 
hand.  The  lion  who  came  to  his  cave  to 
have  a  splinter  removed  rests  his  forepaw 
against  the  saint's  knee.  The  third  figure 
on  this  soffit  is  that  of  an  aged  man  wear- 
ing spectacles  while  a  kneeling  woman  pre- 
sents a  cup.  Spectacles  were  invented  in 
the  thirteenth  century  and  are  an  unusual 
feature  in  sculptured  images  of  saints: 
possibly  these  may  be  referred  to  the 
earlier  figures  wrought  when  the  invention 
was  new. 

Over  the  first  arch  of  the  nave  on  the 
South  side,  the  first  figure  is  that  of  St. 
Helena,  Empress,  mother  of  Constantino 
the  Great,  crowned,  holding  an  open  book 
which  rests  on  a  Tau  cross,  alluding  to 
her  vision  of  the  locality  in  which  the  true 
cross  might  be  found. 

♦Twenty  pages  of  the  Acta  Sanctorum  are  de- 
voted to  the  history  and  legends  of  this  saint.  _  See 
also  Father  Cahier's  Caracteristiques  des  Saintes 
dans  I'Art  populaire,  1867,  p.  21  :  also  Rev.  W. 
Sparrow  Simpson  in  Journal  of  the  Archceological 
Association,  vol.  3,  n.  s. 

433 


Westminster  Ahhey 

The  great  number  of  books  represented 
in  connection  with  the  figures  (there  are 
at  least  sixteen)  must  be  apparent  to  any 
student  of  the  series.  Has  it,  perhaps, 
some  allusion  to  the  fact  that  the  art  of 
making  bound  books  was  then  in  its 
infancy:  that  Caxton,  in  the  years  1477- 
149 1,  was  printing  on  his  wonderful  press, 
within  the  Abbey  precincts:  and  that  the 
Lady  Margaret  was  deeply  interested  in 
the  new  invention  and  was  one  of  his 
most  powerful  patronesses.  The  earliest 
press  in  England  was  set  up  here  in  1477, 
and  no  doubt  Henry  VII  would  be  inter- 
ested in  this  new  development  of  the  age. 

Directly  below  the  series  of  sculptured 
figures  and  above  the  arches  of  the  main 
arcade  in  this  main  aisle  is  a  range  of 
Demi-Angels,  so-called,  carved  in  stone, 
which  continue  around  the  chapel,  forming 
with  the  statuary  above,  a  notable  trifor- 
ium  stage  or  border.  The  angels  are  of  in- 
terest from  the  variety  of  their  expression 
and  posture  and  for  their  vivacity  and 
grace:  some  are  singing,  some  are  smil- 
ing. There  is  much  spirit  and  suggestion 
in  the  carving  of  their  delicate  hands, 
which  do  not  meet  over  the  shields  or  em- 
blems between  each  pair  but  they  have  the 
appearance  of  joining  hands.  There  is 
also  a  variety  in  their  dress,  some  are  in 

434 


Fan  Tracery 


Demi-anckls,  with   Tudor  Emblems 


Henry  VIFs  Lady  Chapel 

deacon's  robes,  some  have  feathered 
bodies. 

The  West  Wall.  The  three  great 
bronze  folding  gates  occupy  the  entire 
width  of  the  main  aisle.  Above  them 
runs  a  row  of  the  demi-angels  with  em- 
blems, like  those  of  the  north  and  south 
sides.  The  great  Perpendicular  window 
above,  of  fifteen  lights,  has  three  tran- 
soms, two  principal  mullions,  and  contains 
a  greater  amount  of  its  original  glass  than 
is  to  be  found  in  its  place  within  the  entire 
abbey.  Notice  below  the  window,  marked 
on  the  traceried  panels,  three  small  Con- 
secration Crosses,  painted  on  the  stone 
above  the  gates,  now  worn  and  dim,  a  part 
of  the  series,  twelve  within  and  twelve 
without,  one  for  each  of  the  twelve  Apos- 
tles, once  found  on  the  walls  of  all  Chris- 
tion  churches  and  chapels.* 

On  this  west  wall  there  is  a  cross  in  each 
of  the  three  main  divisions  of  the  arcade 
and  each  has  a  wooden  plug  in  the  centre 
and   another  twenty  inches  below,   prob- 

*The  anointing  of  these  consecration  crosses  by 
the  bishop,  formed  an  important  part  of  the  con- 
secration ceremony  and  was  attended  by  a  solemn 
procession  of  the  clergy  with  altar  boys.  A  metal 
pin  was  often  placed  below  the  cross  on  which  to 
fix  a  candlestick  for  use  at  the  consecration  and 
other  festivals.  When  any  one  portion  of  a  church 
was  dedicated  separately,  as  in  the  case  of  this 
chapel,  all  of  the  twenty-four  crosses  were  applied 
to  it. 

435 


Westminster  Ahhey 

ably  to  fix  the  candlestick.  These  crosses 
are  painted  on  the  wall:  elsewhere,  as  at 
Salisbury  and  Exeter,  for  example,  they 
are  carved  in  stone. 

The  Clerestory  consists  of  large  five- 
lighted  windows  which  furnish  ample 
light  for  the  nave,  each  filling  the  entire 
space  of  a  bay,  having  two  transoms,  two 
principal  and  two  inferior  mullions.  The 
tracery  in  the  head  of  each  light  consists 
of  three  cinquefoiled  arches.  There  is  a 
large  window  at  the  east  and  another  at 
the  west.  The  range  of  clerestory  win- 
dows continues  around  the  eastern  chapels. 
The  aisles  have  their  own  beautiful  little 
bay  windows,  angled  In  and  out  in  an  un- 
usual style. 

The  Vault  of  this  wonderful  chapel  is 
undoubtedly  one  of  the  most  interesting 
and  important  as  well  as  one  of  the  most 
beautiful  architectural  features  of  the 
building.  It  is  a  fan-traceried  vault  and 
by  far  the  largest  and  richest  example  of 
its  sort  in  England.  The  design  is  unde- 
niably English,  and  so  far  as  I  have  been 
able  to  discover,  it  is  not  even  suggested 
in  the  vaulting  of  any  Gothic  church  on 
the  Continent.  Assuredly  it  is  not  French, 
and  has  not  been  borrowed  from  or  sug- 
gested by  any  detail  of  French  vaulting. 
As  a  specimen  of  intricate  and  skilful  ma- 

436 


Henry  YIFs  Lady  Chapel 

sonry  It  is  notable  and  valuable,  reflecting 
the  greatest  possible  credit  on  the  archi- 
tect who  planned  it  and  the  workmen  by 
whose  mechanical  skill  it  was  executed. 

While  the  general  aspect  of  the  vault  is 
delicate,  fragile  and  lacelike,  so  that  it 
seems  to  be  composed,  not  of  hard  stone, 
but  of  some  ma:terial  almost  filmy  in  Its 
structure,  like  the  frost  on  the  window  or 
the  gray  spider's  web,  and  apparently  so 
unsubstantial  that  a  strong  wind  might 
sweep  it  away  utterly,  yet  every  stone  of  it 
was  carefully  measured  and  adjusted  to  Its 
position  with  such  accuracy  and  thorough- 
ness that  the  entire  ceiling  stands  today  in 
its  place  after  four  centuries,  seemingly 
untouched  by  the  hand  of  time.  Its 
pierced  and  delicate  stone  pendants  still 
fall  with  perfect  grace  from  the  midst  of 
the  traceried  designs  and  the  carved  em- 
blems which  appear  as  bosses  still  stand 
firmly  as  if  but  recently  placed  in  position. 

"The  peculiar  airiness  of  this  vaulting 
arises,  in  a  principal  degree,  from  the 
variety  and  boldness  of  the  panelled  trac- 
ery which  spreads  over  the  surface  like  a 
net  of  exuberantly-wrought  lacework, 
whereon  the  ground  is  composed  of  circles 
and  radii  and  the  intervening  spaces  occu- 
pied by  an  elegant  diversity  of  orbicular 
and  other  forms:  all  of  them,  however, 

437 


Westminster  AJbhey 

being  repeated  in  the  same  order  in  every 
circle,  and  every  circle,  in  its  proportions 
and  arrangements  forming  an  exact  coun- 
terpart to  the  same  division  of  the  work 
in  each  pendant."* 

The  fan-traceried  vault  was  peculiar  to 
the  late  Perpendicular  and  Tudor  periods. 
Probably  the  earliest  example  is  found  in 
the  beautiful  cloisters  at  Gloucester  cathe- 
dral, built  c.  1450,  in  which  the  bays  are 
square  instead  of  oblong,  as  in  the  later 
examples.  Other  fan  vaults  are  seen  in 
the  Dean's  chapel  at  Canterbury,  dedicated 
in  1460:  in  the  choir  of  Oxford  cathedral, 
which  is  of  the  same  general  plan  as  this 
of  Westminster:  in  the  Divinity  School  at 
Oxford:  in  Bishop  Alcock's  chapel  at  Ely, 
built  in  the  closing  years  of  the  fifteenth 
century  (Alcock  being  Henry  VII's  Comp- 
troller of  the  Royal  Works  and  Build- 
ings), and  at  King's  College,  Cambridge, 
completed  in  15 15.  St.  George's,  Wind- 
sor, has  a  late  vault  of  fan  tracery  in  its 
side  aisles,  and  a  beautiful  design  in  this 
style  in  the  crossing  bay,  dated  1528. 

The  Westminster  vault  is  cross-groined 
over  oblong  compartments.  The  pattern 
consists  (briefly  and  avoiding  technical 
terms)  of  a  series  of  three  concentric  cir- 
cles of  cut  stone  placed  flatly  on  the  vault, 
*Neale  and  Brayley. 

438 


Eenvjj  VIPs  Lady  Chapel 

from  the  common  centre  of  which  a  beau- 
tiful, lacelike,  traceried  and  pierced  stone 
pendant  gracefully  falls.  Not  one  of  the 
concentric  circles  is  permitted  to  entirely 
complete  itself  because  its  pattern  must  be 
adjusted  to  the  space  to  be  filled.  There 
are  two  rows  of  these  large  concentric  cir- 
cles in  the  main  aisle  from  east  to  west, 
and  from  the  space  between  their  junction 
in  the  central  line  of  the  vault  four  beau- 
tiful large  pendants  droop,  similar  in 
design  to  those  which  depend  from  the  cir- 
cles in  the  two  long  rows.  Open  tracery 
of  beautiful  and  effective  design  fills  all  the 
space  between  the  concentric  circles. 
The  vault  is  curiously  supported  by 
arches  which  rest  on  triple  vaulting-shafts 
wrought  on  the  faces  of  the  piers,  the 
arches  richly  crocketted  but  the  central 
portion  of  each  Is  obscured  by  the  applied 
ornament  of  the  vault.  The  effect  of  this 
supporting  arch  is  as  if  the  ribs  pierced 
through  the  centre  of  a  great  circular  pen- 
dant of  stone. 

"To  prevent  the  groins  from  spreading 
at  the  haunches,  or,  as  it  is  technically 
named,  kicking,  the  space  between  them 
and  the  side  piers  is  occupied  by  perfor- 
ated masonry  Intersected  by  stays  and  cross- 
bands,  placed  diagonally.  ...  At  the 
angles  of  the  piers,  between  the  groins  and 

439 


Westminster  Ahhcy 

the  clerestory  windows,  are  half-pendants: 
and  from  the  central  point  of  the  arch, 
above  each  window,  a  secondary  division 
of  the  vaulting  takes  its  rise,  which  fills 
up  all  the  interstices  between  the  outer 
circles  of  the  great  pendants:  its  project- 
ing lines  meeting  at  the  apex  and  being 
there  formed  into  smaller  pendants  about 
four  feet  in  diameter,  which  key  the  whole 
together."* 

The  Indenture  for  the  vaultf  shows  that 
it  was  to  be  built  at  a  cost  of  £1200,  and 
according  to  the  design  or  "platt"  made 
and  signed  "with  the  handes  of  the  lordes, 
executors  unto  the  kyng  of  most  famous 
memory  (this  seems  to  prove  that  the 
vault  was  not  built  in  the  king's  lifetime), 
whose  sowle  God  pardon."  Further  it 
was  provided  that  it  should  be  completed 
in  three  years:  that  it  should  be  set  up 
"after  the  best  handling  and  form  of  good 
workmanship"    (as  it  undoubtedly  was), 

*Neale. 

tThe  magic  of  the  roof  is  the  same  as  that  which 
is  exhibited  in  countless  American  structures  in 
steel,  which  carry  immense  weights  across  rivers  and 
valleys.  It  is  the  result  of  calculation  and  of  apply- 
ing means  to  an  end.  The  tendency  of  stones  to  fall 
is  counteracted  by  another  mechanical  force  and 
the  consequence  is  the  stability  which  has  lasted 
above  four  hundred  years.  The  external  surface 
which  is  visible  from  the  floor  of  the  chapel  is  less 
interesting  though  more  beautiful  than  the  arrange- 
ment of  the  stones  which  is  concealed. — The  Archi- 
tect, June  22,  1900. 

440 


Henry  VIFs  Lady  Chapel 

and  that  for  the  workmen's  use  the  vault 
should  be  provided  with  wheels,  cables, 
robynettes,  saws,  etc.* 

As  specimens  of  masonry  and  of  geo- 
metrical skill  and  precision,  the  stones 
of  the  vault  are  wonderful  pieces  of 
cra:ftsmanship  and  the  stone-cutting  alone 
is  no  mean  achievement  when  we  consider 
what  would  have  been  the  consequences  of 
inaccurate  measurements  or  cutting,  "Pro- 
found geometrical  knowledge  is  combined 
with  the  utmost  practical  skill  .  .  . 
even  the  intelligent  architect  wonders  at 
the  ingenuity  and  daring  hardihood  that 
could  arrange  and  securely  poise  in  air 
such  ponderous  masses  of  stone  and  coun- 
teract the  power  of  gravity  by  professional 
skill.  All  the  pendants  are  contrived  on 
such  exact  geometrical  principles  that  the 
stones  composing  each  have  the  effect  of 
keystones,  and  as  the  groins  which  inter- 
sect them,  and  indeed  form  a  part  of  the 
general  mass,  abut  against  the  cross- 
springers  which  stretch  over  the  aisles 
from  the  exterior  buttresses,  the  whole 
vaulting  is,  by  that  means,  made  steadfast 
and  immovable. "t 

*The  area  of  a  single  bay  of  the  King's  College 
vault  was  about  900  square  feet  and  £320  were  set 
aside  for  the  painting  and  gilding.  The  vault  of  St. 
George's,  Windsor,  of  practically  the  same  date  as 
this  of  Westminster,  was  built  in  two  years  at  a  cost 
of  £700. 

tLethaby. 

441 


Westminster  Ahhey 

It  Is  of  interest  to  note  that  these 
seemingly  delicate  vaults  in  Henry  VII's 
chapel  are  protected  in  the  central  and  side 
aisles  by  a  timber  roof  which  runs  beneath 
the  outer  roof  of  lead,  and  that  the  space 
between  roof  and  ceiling  forms  an  ample 
chamber  through  which  one  may  walk 
with  ease  and  which  is  lighted  by  Gothic 
windows. 

The  Bronze  Gates.  The  large,  richly 
sculptured  bronze  gates  by  which  the  main 
aisle  of  the  chapel  is  entered  at  the  west 
suggest  the  entire  history  of  the  building's 
founder. 

There  are  three  large  folding  gates  to 
the  central  aisle,  the  central  pair  being 
considerably  the  largest:  each  pair  is  dou- 
ble, and  all  are  exquisitely  wrought  of 
bronze  in  Tudor  designs  and  emblems 
which  are  riveted  to  a  wooden  framework. 
"Once  shining,  now  dim,  they  are  not  only 
an  exquisite  specimen  of  a  rare  kind  of 
work  but  also  illustrate  the  quiet  but  in- 
tense determination  of  Henry  VII  to  put 
into  the  forefront  every  possible  indica- 
tion of  his  claims  to  the  crown  of  Eng- 
land." 

Each  gate  is  composed  of  small  open- 
work bronze  panels,  the  rivets  which  fas- 
ten them  together  being  ingeniously  con- 
cealed under  small  roses  with  which  the 

442 


A  Bronze  Gatk 


Henry  YIPs  Lady  Chapel 

bars  are  thickly  studded.  There  are 
twenty-eight  of  these  panels  in  the  smaller 
doors:  thirty-three  in  each  large  door,  and 
each  contains  a  single  beautifully  wrought 
emblem.  "The  junctions  where  the  roses 
and  slides  meet  and  where,  consequently, 
the  metal  Is  mitred,  are  covered  by  large, 
flat  roses:  but  how  they  are  secured  from 
falling  out  is  more  than  I  can  tell."*  The 
whole  appears  as  if  it  were  cast  in  one 
piece.  The  buttresses  at  the  angles  and 
the  lock  plates  should  be  studied. 

The  Tudor  Emblems.  The  subjects 
of  these  designs  were  no  doubt  as  carefully 
thought  out  by  the  king  as  was  every 
other  detail  of  the  chapel.  Each  emblem 
has  its  own  story  to  tell  of  some  Incident 
or  person  linked  with  the  life  of  the 
founder.  Each  is  repeated  over  and 
over  again  In  the  stone  carving  of  the  tri- 
forlum  stage,  In  the  bosses  of  the  ceiling. 
In  the  quarried  glass,  on  the  tomb  and 
grille  of  the  founder  and  his  queen  and, 
no  doubt,  originally  in  the  tiles  of  the 
pavement. 

The  object  of  the  lavish  use  of  these 
emblems  is  usually  supposed  to  be  the 
desire  of  the  first  Tudor  king  to  substan- 
tiate his  claim  to  the  crown.f 

*Scott. 

tAs  we  have  seen,  this  claim  is  not  usually  con- 
sidered   a    valid    one.      Assuredly    "he    gained    his 

443 


Westminster  Abhey 

The  Emblems   are: 

i.  The  Red  Dragon,  the  ensign  of 
Cadwallader,  the  last  British  king,  from 
whom  Henry  claimed  to  be  the  hundredth 
in  descent.  This  red  dragon,  painted  on 
white  and  green  silk,  was  Henry's  stand- 
ard at  the  battle  of  Bosworth  Field.  The 
victory  was  commemorated  by  the  institu- 
tion of  a  Pursuivant-at-Arms  by  the  name 
of  Rouge  Dragon.  The  famous  banner, 
with  other  trophies  of  the  victory,  was 
offered  at  St.  Paul's. 

2.  The  Red  Rose  of  the  House  of 
Lancaster,  from  his  mother,  Margaret 
Beaufort,  the  great-great-granddaughter 
of  Edward  III  through  her  great-grand- 
father, John  of  Gaunt,  Duke  of  Lancaster, 
Edward  Ill's  third  son. 

3.  The  Root  of  Daisies,  the  special 
cognizance  of  his  mother,  the  Lady  Mar- 
garet, the  Countess  of  Richmond. 

4.  The  Portcullis,  also  of  the  Beau- 
forts,  his  mother's  family,  with  the  motto, 
Altera  Securitas,  which  Henry  added,  indi- 
cating a  repetition  of  his  claim  to  the 
throne  which  h.6  derived  through  John  of 

crown  by  no  secret  intrigues,  no  cruel  murders,  no 
thwarting  the  will  of  the  nation  at  large,  and  he  dis- 
placed a  cruel  tyrant  under  whom  the  country  was 
suffering  and  not  prosperous :  but  it  would  have 
puzzled  the  most  acute  controversialist  to  discover 
in  what  his  right  consisted." — Gardiner. 

444 


Henry  VIPs  Lady  Chapel 

Gaunt,  from  the  Beaufort  Castle  In  Anjou, 
inherited  by  Edmund  Crouchback,  from 
his  wife,  Blanche  of  Navarre. 


THE  PORTCULLIS 

5.  The  Double  Rose,  formed  by  the 
union  of  the  roses  of  York  and  Lancaster, 
the  white  rose  of  York  being  the  emblem 
of  his  queen,  Elizabeth  of  York,  "the 
sweet  posie  wherein  the  white  and  red 
roses  were  first  tied  together." 

6.  The  interwoven  initials,  H  R 
(Henricus  Rex),  both  with  and  without 
the  crown. 


7.     The  Falcon  within  an  open  fetter- 
lock, badge  of  the  Yorkist  king,  Edward 

445 


Westminster  Ahhey 

IV,  the  Queen's  father.  "It  is  said  that 
the  first  Duke  of  York  built  his  castle  in 
the  form  of  a  fetterlock  and  gave  to  his 
sons  who  asked  the  Latin  for  fetterlock 
the  expressive  answer,  Hie,  hac,  hoc,  tacea- 
tis,"  i.  e.,  "Locked  up  from  the  hope  of  a 
kingdom  but  ...  be  quiet  and  silent  as 
God  knoweth  what  may  come  to  pass." 

8.  The  three  fleur-de-lis  of  France. 
Henry  had  the  royal  blood  of  France  in 
his  veins  by  his  grandmother,  daughter  of 
the  French  King. 

9.  The  three  Lions  of  England. 

10.  The  Greyhound  of  the  Nevilles, 
borne  by  Ciceley  Neville,  wife  of  Richard, 
Duke  of  York,  mother  of  Edward  IV, 
hence  grandmother  of  Henry  VII's  queen. 

11.  The  Rose  in  Splendour,  or  Rose 
en  Soleil,  the  badge  of  Edward  IV,  which 
is  said  to  have  appeared  and  scattered  the 
unfriendly  mists  at  the  battle  of  Barnet. 

12.  The  Crown  interwoven  with  the 
Thistle  of  Scotland,  in  allusion  to  the  mar- 
riage of  the  King's  daughter,  Margaret,  to 
the  King  of  Scotland. 

13.  The  Hawthorn  Bush,  usually 
fruited  and  bearing  a  crown,  the  King's 
peculiar  emblem,  referring  to  the  fact  that 
the  crown  which  Richard  III  bore  on  his 
helmet  when  he  rode  to  battle  at  Bos- 
worth,  was  hidden  by  one  of  his  soldiers 

446 


Efinry  VIFs  Lady  Chapel 

after  the  defeat,  in  the  midst  of  a  haw- 
thorn bush  and  thence  borne  to  Henry.* 

THE  STAINED  GLASS 
(Perpendicular,  1509-1516) 

"Lucem  tuam  da  nobis,  0  Dens." — Motto  of  the 
Company  of  Glaziers  and  Painters  in  Glass,  incor- 
porated in  1637. 

Henry  VIFs  Will  directs  "that  the 
windows  of  our  chapel  be  glazed  with 
stories,  images,  arms,  badges  and  cogni- 
zances, as  is  by  us  already  devized  and  in 
picture  delivered  to  the  Prior  of  St. 
Bartholomew's,  Master  of  the  Works  of 
the  same,  our  chapel." 

In  conformity  with  this  wish,  the  rich- 
est glass  of  the  period  was  selected,  the 
most  famous  glaziers  employed  and  ample 
time  allotted  for  the  task.  How  splendid 
must  have  been  the  effect  when  all  the  ten 
clerestory  windows,  the  spacious  west 
window  of  fifteen  lights  forming  almost 
an  entire  wall  of  glass:  and  the  curious 
angled-windows  of  the  aisles  and  apsidal 
chapels  forming  another  almost  continu- 
ous wall  of  glass,  diversified  with  tracer- 

*It  is  told  of  Lord  Hervey  that  on  one  occasion 
he  explained  "a  pair  of  old  brass  gates  in  Henry 
VH's  chapel,"  to  George  H  and  Queen  Caroline 
with  such  eloquence  and  understanding  that  the 
Queen  was  exceedingly  pleased  and  the  jealous  king 
"stopped  the  conversation  short." 

447 


Westminster  Abbey 

ied  panellings,  their  angles  furnishing  the 
best  possible  advantage  for  the  displaying 
of  the  varied  beauties  of  ruby  and  sap- 
phire, emerald  and  amber  and  silver,  were 
fully  complete  with  their  treasure  of  this 
wonderfully  decorative  ornament. 

This  lavish  adornment  of  glass  harmon- 
ized with  the  other  magnificent  appoint- 
ments of  the  chapel  and  was  in  conformity 
with  that  clause  of  the  king's  Will  which 
directed  that  the  chapel  be  "painted,  gar- 
nished and  adorned  in  as  goodly  and  rich 
a  manner  as  such  work  requireth  and  as 
to  a  king's  work  appertaineth."  In  the 
broad  clerestory  windows  were  ranged  a 
series  of  Scriptural  pictures  in  brilliant, 
sparkling  colours :  while  the  delicate  dia- 
mond-shaped panes  of  aisles  and  chapels 
sparkled  and  gleamed  with  the  varying 
kaleidoscopic  effects  of  the  small  mosaics 
set  in  silver  and  stained  with  gold,  bearing 
the  picturesque  Tudor  emblems. 

The  Perpendicular  glass  employed  was 
light  and  delicate  in  effect  and  accorded 
admirably  with  the  orna;te  architecture  and 
graceful  ornament  of  the  chapel.  English 
glass  of  the  sixteenth  century  is  considered 
by  Vasari  to  rank  with  the  very  choicest 
at  that  time  produced.  The  leading  on 
the  outside  and  within  was  made  very 
448 


Henry  YIFs  Lady  Chapel 

strong,    according   to    the  written   agree- 
ment. 

So  rich  and  excellent  did  the  windows 
of  this  new  chapel  appear  that  they  were 
imitated  for  the  splendid  windows  of 
King's  College  chapel,  Cambridge,  In  proc- 
ess of  completion  at  the  same  time,  "the 
finest  series  of  picture-like  windows  In  the 
country,"*  which  still  remain  In  excellent 
condition,  though  not  all  are  of  the  same 
date.  The  Indenture  for  their  construc- 
tion Is  worded  In  much  the  same  language 
as  the  contract  for  the  glass  of  Henry 
VII's  chapel.  The  executors  were  nearly 
the  same  and  no  doubt  some,  if  not  all,  of 
the  same  glaziers  were  employed  in  each 
chapel.  The  King's  College  windows, 
like  these,  had  five  lights  with  tracerled 
heads  and  In  the  use  of  emblems  and 
devices  they  would  naturally  employ  those 
of  their  greatest  benefactors.  For  these 
reasons,  the  glass  of  Henry  VII's  chapel 
having  almost  entirely  disappeared,  our 
best  Idea  of  Its  windows  is  to  be  obtained 
by  studying  those  of  the  chapel  of  King's 
College. 

The  date  of  the  Westminster  glass  may 

be  estimated  as  1509-15 16,  from  the  fact 

that  the  Will,  dated  April,  1509,  contains 

directions  for  making  the  windows,  not  yet 

*Westlake. 

449 


Westminster  Ahhey 

begun,  though,  as  we  have  seen,  pictures  of 
their  subjects  had  been  delivered  to  Prior 
Bolton,  and  from  the  fact  that  the  King's 
College  windows,  which  were  to  imitate 
them,  were  not  begun  until  15 16. 

The  subjects  are  of  peculiar  interest 
because  they  seem  to  have  been  the  com- 
position of  the  king  himself.* 

Among  the  subjects  of  the  storied  win- 
dows at  Westminster  which  were  copied 
in  the  Cambridge  chapel  are  The  Tempta- 

*That  he  was  of  a  religious  mind  is  evidenced  in 
numberless  incidents  of  his  life.  His  mother,  the 
Lady  Margaret,  was  renowned  for  her  sincere  piety, 
and  unusual  devotion  to  the  church  and  its  services; 
and  so  long  as  he  remained  in  her  care,  he  would 
naturally  be  educated  to  reverence  for  religious  ob- 
servance and  holy  living.  Later,  while  in  exile  in 
Brittany,  his  life  threatened  by  Edward  IV,  doubt- 
ful of  his  future,  his  thoughts  turned  to  the  religious 
life  and  in  the  convent  of  St.  Malo  where  he  sought 
sanctuary,  he  prepared  himself  by  study  and  devo- 
tions to  take  holy  orders.  For  the  church  (and 
eventually,  the  Archbishopric  of  Canterbury),  he 
educated  and  intended  his  second  son,  who  became 
Henry  VHI,  the  death  of  the  older  brother  leaving 
him  heir  to  the  throne.  Immediately  after  the  vic- 
tory at  Bosworth  Field,  "as  one  that  had  been  bred 
under  a  devout  mother,"  he  knelt  on  the  battlefield 
and  thanked  God  for  his  success  and  then  caused 
the  Te  Deum  to  be  solemnly  sung  in  the  presence 
of  the  entire  army.  Shakespeare  records  the  royal 
prayer 

"To  thee  I  do  commend  my  watchful  soul 
Ere  I  let  fall  the  windows  of  mine  eyes. 
Sleeping  and  waking,  oh,  defend  me  still." 

(Richard  II.) 

To  suppose  that  Bernard  Flower  or  any  other 
glazier,  however  skilful  in  the  manufacture  or  put- 


Henry  YII's  Lady  Chapel 

tion  of  Eve,  with  The  Annunciation :  Moses 
and  the  Burning  Bush,  with  The  Nativity: 
Elisha  Raising  the  Widow's  Son,  and  The 
Raising  of  Lazarus:  The  Manna  and  The 
Last  Supper:  Solomon  Crowned  and  Christ 
Crowned  With  Thorns :  Joseph  in  the  Pit 
and  The  Entombment  of  Christ.  The 
texts  on  the  scrolls  borne  by  the  Mes- 
sengers in  the  central  lights  of  the  windows 
included,  for  Christ  Entombed,  ^^Posuit 
illud  in  momimento  suo  novo":  for  Job 
sorely  vexed  by  Satan,  ^^Dominus  dedit, 
Dominus  abstiilit:  sit  nomen  Domini  bene- 

ting  together  of  glass  windows,  possessed  knowledge 
sufficient  to  prepare  the  series  of  types  and  anti- 
types represented  in  the  pictured  windows,  or  their 
Latin  mottoes,  is  hardly  possible.  York's  glowing 
east  window  was  wrought  in  its  richness,  by  one 
John  of  Coventry,  as  the  records  reveal :  but  as- 
suredly the  profound  knowledge  of  Old  t.nd  New 
Testament  history  which  these  windows  suggest 
must  have  been  that  of  some  churchman  of  the 
minster.  The  Bible  was  not  then  in  the  hands  of 
the  common  people,  for  printing  was  scarcely  known. 
The  same  would  be  true  of  the  pictured  windows 
of  Canterbury  with  their  Latin  mottoes  and  names; 
and  for  scores  of  other  windows  throughout  the 
country.  Moreover,  the  Will  distinctly  says  of  the 
subjects  of  the  cartoons  delivered  to  the  Master  of 
the  Works  of  the  chapel,  "by  us  already  devised." 

The  general  subject  of  Henry  VII's  windows  was 
The  Old  Law  and  the  New,  and  the  pictures  repre- 
sented Old  Testament  types  with  New  Testament 
fulfillment  of  the  same.  They  were  arranged  in  a 
series,  having  two  historical  pictures  below  the 
transom  of  each  window  representing  types  of  the 
two  pictures  from  the  New  Testament  above  the 
transom,  occupying  four  of  the  five  lights  of  each 
window.     The   Central   light   of   each   window  con- 


Westminster  'Ahhey 

'dictum/'     There  are  twenty-six  windows 

in  all  and  they  occupy  more  than  half  of 

the  entire  wall  space. 

The  glass  which  was  intended  for  the 

West  window  of  Henry  VIFs  chapel  may 

now  be   seen  in  the   east  window  of  St. 

Margaret's  church,  near  the  north  entrance 

of    the   Abbey.      Different    accounts   are 

given  as  to  its  history.     It  is  said  to  have 

been  presented  to  Henry  VII  by  the  town 

of  Dordrecht:  or  else  it  was  ordered  by 

the  King  and  Queen  of  Spain,  Ferdinand 

and  Isabella,  for  presentation  to  the  Eng- 

tained  four  figures  called  Messengers,  two  of  which 
were  prophets  representing  the  Old  Testament :  and 
two  were  angels,  representing  the  New  Testament, 
each  bearing  a  scroll  inscribed  with  a  text  or  motto 
relating  to  the  scenes  in  the  storied  lights.  The 
East  window  contained  a  Crucifixion.  The  tracery 
of  the  large  windows  and  all  the  panes  of  the  small 
windows  were  filled  with  heraldic  emblems,  badges, 
cognizances,  devices  and  arms,  chiefly  of  Henry  VII. 

The  indenture  or  Contract  for  the  King's  Col- 
lege chapel  distinctly  says  that  all  is  to  be  of  good, 
clean,  sure  and  perfect  glass  and  "oryent  colours  and 
imagery  of  the  story  of  the  Old  Law  and  of  the 
New  Law  after  the  forme,  maner,  goodness,  curi- 
osytie  and  clendyness  (  ?)  in  every  point  of  theglasse 
windows  of  the  King's  new  chapel  at  Westmin- 
ster." The  price  paid  was  eighteen  pence  sterling 
for  every  foot  of  glass,  and  the  windows  to  be 
provided,  as  at  Westminster,  with  double  bonds  of 
lead,  "for  defense  of  great  wyndes  and  outragious 
wetherings." 

The  tracery  contained  the  portcullis,  roses  of 
York,  double  Tudor  roses,  the  initials  H  and  E,  for 
Henry  VII  and  his  queen :  H.  K.,  for  Henry  VIII 
and  Catherine  of  Aragon:  the  Prince  of  Wales 
feathers,  etc.,  etc. 


Henry  VIPs  Lady  Chapel 

Hsh  king  on  the  approaching  marriage  of 
their  daughter,  Catherine  of  Aragon,  to 
Prince  Arthur,  and  was  made  at  Gouda 
in  Holland,  The  Prince  died  In  1502, 
before  the  cornerstone  of  this  chapel  was 
laid,  and  the  bereaved  father,  perhaps  not 
wishing  for  himself  and  his  Queen  so 
striking  a  reminder  of  their  loss,  presented 
the  window  to  Waltham  Abbey,  whence, 
after  a  series  of  removals,  it  was  purchased 
by  St.  Margaret's.  The  subject  is  a  Cru- 
cifixion, with  Prince  Arthur  and  the  Prin- 
cess Catherine  and  their  patron  saints 
kneeling  at  the  foot  of  the  cross  and 
Henry  VII  and  his  queen  represented  in 
the  side  lights. 

The  glazier  of  Henry  VII's  chapel 
windows,  or  at  least  one  of  them,  was 
Bernard  Flower,  "the  Kynge's  glaysher" : 
but  at  lea:st  two  Flemish  workmen  are 
named  as  assisting  him,  which  may  account 
for  the  fact  that  these  windows  suggest 
the  Flemish  work  in  the  Fairford  windows. 
Of  Bernard  Flower  we  know,  from  his 
position  as  King's  glazier,  that  he  must 
ha:ve  been  the  most  skillful  of  his  sort. 
We  find  that  he  began  the  King's  Col- 
lege windows  and  had  received  two  pay- 
ments for  the  same :  that  he  was  prob- 
ably working  on  these  and  the  Henry  VII 
windows  at  the  same  time:   and  that  he 

453 


Westminster  Abhey 

died  before  the  King's  College  windows 
were  finished,  leaving  a  considerable 
quantity  of  glass  ready  for  placing:  and 
was  succeeded  by  Galieno  Hone,  whose 
name  does  not  suggest  English  birth  but 
who  came  from  Southwark.  Others 
assisting  In  the  windows  were  Richard 
Bowne  of  St.  Clement  Danes  parish: 
Thomas  Reeve  of  St.  Sepulchre's:  and 
James  Nicholson  of  St.  Thomas  Spital  in 
Southwark.* 

What  remains  of  the  original  glass  of 
the  Henry  VII  chapel?  Of  the  long 
series  of  Scriptural  stories  filling  the  win- 
dows of  the  entire  clerestory  only  a  single 
solitary  and  much  patched  figure  under  a 
canopy  now  remains,  and  Is  placed  In  the 
east  window  of  the  main  story  of  the  east- 
ern apsidal  chapel.  The  robes  are  of  rich 
ruby  and  sapphire:  the  canopy  of  silver 
enriched,  after  the  Perpendicular  manner, 
with  yellow  stain:  the  ground  a  dull  green. 
The  figure  was  long  thought  to  be  a  repre- 
sentation of  the  King  himself:  but  careful 

*Portions  only  of  Flower's  known  work  now 
remain  in  King's  College  chapel.  The  tracery  of 
the  side  windows  is  probably  his  and  is  earlier  than 
the  pictures  below  the  tracery,  and  seems  to  have 
been  completed  first  perhaps  because  the  scaffolding 
was  in  position  and  the  space  more  accessible.  The 
entire  north  window  over  the  north  entrance  is 
ascribed  to  Flower,  and  the  entire  series  of  storied 
windows  was  no  doubt   made  by  him. 

454 


Henry  VIFs  Lady  Chapel 

investigation  proves  it  to  be  the  Prophet 
Jeremiah,  one  of  the  Messengers  which 
were  placed  in  each  central  light  of  the 
clerestory  windows,  here  at  Westminster, 
and  like  those  which  may  be  seen  today  at 
King's  College.  The  canopy  of  silver 
glass  with  yellow  stain  is  badly  patched:  a 
part  of  the  scroll  bearing  the  motto  still 
surrounds  the  patched  head.  This  and 
the  earliest  Messengers  in  King's  College 
were  undoubtedly  the  work  of  Bernard 
Flower.* 

Of  the  glass  in  the  aisles  of  Henry  VIFs 
chapel,  also  of  that  in  the  apsidal  chapels 
and  the  tracery  at  least  of  the  west  win- 
dow, we  have  sufficient  remaining  to  indi- 
cate its  general  design.  The  aisle  and 
chapel  windows  were  glazed  with  lozenge- 
shaped  quarries,  ornamented  with  the  vari- 
ous Tudor  emblems.  Ruby,  sapphire, 
amber  and  a  fine  green  are  prominent 
among  the  colours,  but  are  used  in  small 
pieces  producing  the  effect  of  glass  mosaic. 

The  Fate  of  the  Glass.  So  completely 
have  all  traces  of  the  storied  windows  of 
this  chapel  disappeared   from  view   that 

*The  windows  of  the  College  were  preserved 
from  injury  during  the  Civil  War  by  paying  six 
shillings  eightpence  to  Dowsing,  the  destroyer  of 
stained  glass  for  the  Puritans.  Willis  and  Clarke's 
Cambridge.  1:511.  The  east  window  of  St.  Mar- 
garet's church,  Westminster,  was  taken  down  and 
concealed  at  this  time. 

455 


Westtninster  Abhey 

curiosity  is  at  once  aroused  as  to  their 
fate.  It  is  difficult  to  believe  that  Crom- 
well could  have  been  responsible  for  the 
destruction  of  this  beautiful  ornament  of 
the  chapel  which  he  intended  for  the  final 
resting-place  of  himself,  his  family  and  his 
companions  in  arms.  The  few  statues 
removed  from  the  series  of  sculptured  im- 
ages running  around  the  interior  were  not 
rudely  broken  off  and  only  here  and  there 
was  one  removed.  In  nearly  every  series 
of  rich  windows  which  were  destroyed  in 
the  Civil  War,  there  remains  some  record 
of  the  deed  in  the  local  histories,  or  some 
traces  in  canopy,  pedestal,  motto  or  frag- 
ment of  blazing  glass  to  suggest  what  has 
been:  or  else  such  fragments  have  been 
collected,  as  in  the  east  windows  of  Can- 
terbury, and  as  at  Exeter,  and  replaced,  in 
some  fashion,  to  enchant  us  by  their 
beauty  of  colour,  though  the  design  may 
have  been  lost  sight  of:  or  these  frag- 
ments are  being  carefully  treasured  by  the 
church  guardians  and  reserved  for  future 
use.  But  no  trace  of  such  remains  now 
exist  at  Westminster,  save  the  one  lone 
Messenger  under  his  silver  canopy  in  the 
east  window. 

A  conclusion  which  to  me  seems  not 
unlikely  is  that,  like  the  windows  of 
Herkenrode    Abbey,     now    at    Lichfield 

456 


Henry  YII's  Lady  Chapel 

cathedral,  these  of  Westminster  were 
carefully  removed  during  the  great  period 
of  danger  for  painted  glass  and  imagery, 
by  their  natural  guardians  (Dean  Will- 
iams or  some  other  lover  of  the  Abbey, 
or  even  by  order  of  Cromwell  himself), 
and  concealed,  perhaps  buried  away  out 
of  sight  until  times  of  peace  should  return. 
In  this  way  were  the  fragments  of  shrine8 
preserved,  as  those  of  St.  Alban  and  St. 
Amphibalus:  of  St.  Frideswide  at  Oxford 
and  of  St.  Thomas  of  Hereford:  and  lit- 
tle by  little,  as  the  various  portions  were 
brought  to  light,  fitted  together  and  re- 
placed in  their  original  position.  It  might 
easily  happen  that  in  this  and  countless 
other  instances,  those  who  were  responsible 
for  such  loyal  preservation  of  the  church's 
treasures  passed  away,  leaving  the  place 
of  concealment  unknown  to  any  of  the  liv- 
ing. 

The  natural  guardian  of  the  fabric  of 
Westminster  Abbey  during  the  Civil  War 
was  the  militant,  vigorous,  far-sighted 
Welshman,  Dean  Williams,  a  man  so  able 
that  he  had  held  numerous  prominent  offi- 
ces in  state  and  church,  had  been  Lord 
Keeper  of  the  Great  Seal,  Dean  of  Salis- 
bury, Bishop  of  Lincoln,  and  Archbishop 
of  York,  a  brilliant,  handsome  dean.  He 
was  at  once  liberal  In  his  benefactions  to  the 

457 


Westminster  Ahhey 

Abbey,  zealous  in  repairing  its  seriously 
damaged  portions  and  in  procuring  "the 
sweetest  music  both  for  the  organ  and  for 
the  voices  (a  true  Welshman  in  this  love  of 
music),  that  was  ever  heard  in  an  Eng- 
lish choir,"  and  repaired  and  set  up  a 
goodly  library.  The  noble  windows  would 
have  been  dear  to  this  dean. 

The  general  order  of  Cromwell's  Par- 
liament for  the  levelling  of  altar  steps  and 
destroying  "superstitious  images"  in  West- 
minster Abbey  was  not  issued  until  1643. 
But  in  1640  a  violent  mob  made  its  way 
to  the  Abbey  shouting,  "Let  us  pluck  down 
the  organ  1  Let  us  deface  the  monu- 
ments!" News  of  this  was  carried  with 
all  speed  to  Dean  Williams,  whose  hot 
Welsh  blood  was  roused  and  he  remem- 
bered that  he  was  the  guardian  of  the 
Royal  Rega:lia  as  well  as  of  the  Abbey. 
He  at  once  ordered  the  doors  to  be  made 
fast*  and  when  the  mob  would  have  forced 
them  open  "they  were  beaten  off  with 
stones  from  the  top  of  the  roof:  the  Dean 
all  the  while  maintaining  the  Abbey  in  his 
own  person,  with  a  few  more,  for  fear  they 
should  seize  upon  the  Regalia,  which  were 
in  that  place  under  his  custody.  The 
spight  of  the  Mutineers  was  most  against 
him:  yet  his  followers  could  not  entreat 

♦Racket's  Life  of  Williams. 


Dean  Williams 
From  an  engraving  by  Jacob  Houbrakcn, 


Hen/ry  VIFs  Lady  Chapel 

him  to  go  aside,  but  he  stood  to  it.  After 
an  hour's  dispute,  when  the  multitude  had 
been  well  pelted  from  aloft,  a  few  of  the 
Dean's  train  opened  a  door  and  rushed 
out  with  swords  drawn  and  drove  them 
before  them  like  fearful  Hares." 

In  the  diary  of  Will  Dowsing,  the 
glass  and  image  breaker  of  the  Puri- 
tans, there  is  an  entry  for  December 
26,  1643  (Dean  Williams  had  by  this 
time  gone  on  to  the  Archbishopric  of 
York),  that  altar  steps  were  to  be  levelled 
and  one  thousand  superstitious  pictures 
(presumably  in  the  windows),  were  to  be 
destroyed.  This  was  not  done,  however, 
in  the  case  of  the  windows,  at  least  the 
windows  themselves  bear  no  trace  of  such 
rough  usage  and  there  is  a  tradition  that 
all  the  glass  was  taken  out  and  buried  in 
the  course  of  a  single  night.  Of  its 
subsequent  fate  we  have  no  further  rec- 
ord. As  to  that  in  Henry  VII's  chapel, 
Neale  says  that  much  of  the  glass  was 
broken  or  else  removed  while  the  chapel 
was  in  a  neglected  condition  before  the 
repairs  of   the   early  nineteenth   century. 

The  Altar.  When  the  chapel  was  com- 
pleted it  contained  nine  altars,  including 
the  high  altar,  that  in  the  founder's  chan- 
try, and  those  in  the  side  aisles  and  apsi- 
dal  chapels.     The  present  altar  replaces 

459 


Westminster  Ahhey 

a  very  beautiful,  exquisitely  wrought 
though  small  structure  of  fine  Renais- 
sance work  made  by  Torregiano,  which 
is  sometimes,  but  incorrectly,  called 
the  tomb  of  Edward  VI,  since  he  was 
buried  beneath  it.  It  consisted  of  a  rich 
black  marble  table  six  feet  long  and  three 
feet  four  inches  wide,  resting  on  sixteen 
gilded  bronze  balusters.  At  the  angles, 
forming  additional  support  to  the  heavy 
table,  were  four  rectangular  posts  of 
white  marble,  delicately  carved  in  Renais- 
sance patterns,  intermingled  with  Tudor 
emblems.  A  large  relief  of  the  Resur- 
rection was  carved  on  the  front  of  the 
re-table  and  The  Nativity  at  the  back. 
An  ample  white  marble  canopy  orna- 
mented with  gilt  bronze,  rose  over  this 
rich  little  altar,  supported  at  the  angles 
by  pillars  of  gilt  bronze  having  carved 
capitals  and  richly  carved  triple  bases  of 
black  and  white  marble  and  gilt  bronze. 
On  top  of  the  carved  cornice  stood,  in  the 
centre,  the  royal  arms,  crowned,  with  the 
supporters  of  Henry  VII,  the  Hon  and 
the  dragon:  and  on  either  side  were  kneel- 
ing angels,  one  upholding  a  tall  cross,  the 
other  a  column  (of  scourging)  crowned 
by  a  cock,  Emblems  of  the  Passion. 

Torregiano  had  been  engaged  to  make 
the  altar  after  finishing  the  tombs,  before 

460 


Henry  VIPs  Lady  Chapel 

he  should  return  to  Florence :  but  very 
little  If  anything  seems  to  have  been 
accomplished  until  late  In  15 19  or  1520, 
when  he  returned  from  Italy,  bringing 
with  him  three  assistants,  one  a  sculptor 
and  one  a  painter,  and  the  altar  was  prob- 
ably then  completed.* 

"The  matchless  altar,"  as  It  was  called, 
was  torn  down  In  1643,  during  the  Civil 
War,  by  Sir  Robert  Harrow,  on  account 
of  the  "superstitious  Images"  It  contained 
and  It  was  "broken  Into  shivers."  This 
was  almost  the  only  Injury  Inflicted  on  the 
chapel  at  that  period  and  all  trace  of  the 
beautiful  fragments  was  lost  until  a  com- 
paratively recent  date  when  two  of  the 
marble  rectangular  posts  at  the  angles  of 
the  altar  table  were  found  by  Dean  Stan- 
ley beneath  the  pavement,  hidden  away  in 
Edward  VI's  vault.  A  similar  portion, 
probably  of  the  white  marble  frieze,  was 
found  preserved  In  the  Ashmolean  Mu- 
seum at  Oxford  and  was  presented  by  the 
University  to  the  Abbey. 

The  present  altar,  made  up  of  frag- 
ments, was  put  together  by  Dean  Stanley 
and  has  an  Interesting  history.  It  con- 
sists of  a  rich,  modern  black  marble  slab, 

*It  is  said  that  Torrcgiano  vainly  endeavoured  to 
bring  with  him  Benvenuto  Cellini,  but  the  latter 
went  to  Michael  Angelo  at  Rome  instead. 

461 


Westminstet^  Ahhey 

the  gift  of  Dean  Stanley,  within  which 
are  inserted  three  fragments:  a  piece  of 
stone  from  an  Abyssinian  altar,  brought 
from  Magdala  in  1868:  a  mosaic  from 
the  Greek  church  at  Damascus,  destroyed 
during  the  massacre  of  Christians  in 
i860:  and  a  piece  of  jasper  from  the  old 
Norman  high  altar  at  Canterbury,  de- 
stroyed by  fire  in  1174. 

The  two  original  white  marble  posts 
exquisitely  wrought  with  Renaissance 
designs,  rose  sprays,  fleur-de-lis,  and  port- 
cullis, are  used  as  supports  to  the  table: 
and  the  ornamental  carving  has  been  com- 
pared to  that  of  Benedetto  de  Rovessango, 
in  the  church  of  St.  Trinita  at  Florence.* 
The  carved  portion,  probably  of  the 
frieze  of  Torregiano's  altar,  is  inserted  in 
the  re-table.  The  whole  is  protected  by 
cords  suspended  from  metal  supports. 
The  modern  inscription  in  Latin  is  trans- 
lated: "In  place  of  the  ancient  altar  de- 
stroyed in  the  civil  wars,  to  the  honour 
of  God  and  in  pious  memory  of  Edward 
VI,  who  is  buried  beneath,  this  holy  table, 
in  a  gentler  age,  was  placed  by  Arthur 
Penrhyn  Stanley,  D.D.,  Dean  of  West- 
minster, 1870." 

At  this  table  the  Revisers  of  the  Bible 
came  to  receive  the  communion  when  their 
*Higgins'  Florentine  Sculptors  in  England. 
462 


Henry  VII's  Lady  Chapel 

task  in  the  Jerusalem  Chamber  was  fin- 
ished. 

The  pavement,  presented  by  a  pre- 
bendary, is  thickly  dotted  with  stones  bear- 
ing the  names  of  those  who  rest  beneath, 
the  greater  part  being  the  result  of  Dean 
Stanley's  constant  and  unwearied  efforts 
to  discover,  identify  and  mark  the  tombs 
of  all  those  accounted  worthy  of  a  place 
of  burial  in  this  beautiful  historical 
chapel. 

The  Stalls,  in  two  long,  richly  carved 
ranges  on  either  side  of  the  main  aisle  of 
the  chapel,  with  their  pinnacled  canopies 
and  elaborately  carved  ornament,  the  dull 
gleam  of  copper  plates  emblazoned  with 
armorial  bearings  tacked  to  their  walls, 
and  the  double  row  of  rich  new  banners  of 
the  very  new  Knights  of  the  Bath  silently 
waving  now  and  then  to  a  faint  passing 
breath  of  air,  and  the  curious,  often  gro- 
tesque, crests  and  long  hanging  mantlings 
of  the  knights  crowning  each  canopy, 
form  a  very  interesting  and  almost  weird 
decorative  feature  of  the  chapel  and  add 
very  materially  to  the  general  appearance 
of  the  interior.  They  appear  delicate 
and  fragile,  thus  harmonizing  well  with 
the  ornate  and  graceful  character  of  the 
architecture  and  ornament:  a  reedlike 
effect  is  produced  in  the  carved  mass  by 

463 


Westminster  Abbey 

the  multiplicity  of  small  carved  and 
twisted  rods  or  slender  pillars. 

The  stalls  are  chiefly  of  the  Perpen- 
dicular style  and  date,  as  old  as  the 
chapel,  but  their  design  is  far  from  being 
usual  in  England:  indeed,  I  have  found 
nothing  like  them  in  English  cathedrals. 
No  two  canopies  are  precisely  alike  and  in 
other  respects  the  design  is  greatly  varied. 
They  were  undoubtedly  complete  in  1509, 
when  the  King  died  and  he  must  have 
seen  them  in  all  the  freshness  of  their  first 
beauty:  but  Time  has  dealt  very  gently 
with  the  fragile  carvings  and  today  they 
are  scarcely  less  beautiful  than  when  first 
from  the  hands  of  the  maker. 

One  on  either  side  at  the  west  end  is 
considerably  larger  than  the  others.  That 
on  the  south  side  is  intended  for  the  Dean 
of  Westminster,  who  is  Dean  of  the  Or- 
der of  the  Bath.  Over  this  stall  once 
hung  a  banner,  larger  than  the  others,  em- 
broidered with  the  arms  of  England  as 
borne  by  George  I.  The  corresponding 
stall  on  the  north  side  had  a  similar  ban- 
ner bearing  the  arms  of  Prince  Frederick, 
grandson  of  George  I,  buried  near  by. 
This  stall  bears  a  helmet  and  a  royal 
crown.  At  the  front  of  the  north  stall, 
forming  the  poppy-head  for  the  newel 
post  to  the  little  stair  leading  to  the  upper 

464 


Henry  VIPs  Lady  Chapel 

range  of  stalls,  there  is  a  small  wooden 
figure  of  Henry  VII,  robed  and  crowned, 
his  mantle  tied  with  a  long  cord  and 
tassels.  The  cresting  of  these  two  west- 
ern stalls  is  very  delicate. 

Originally  the  stalls  occupied  only  the 
three  westmost  bays,  leaving  the  eastern 
bay  open  to  the  north  and  south  aisles  of 
the  chapel:  but  when  more  stalls  were 
needed  for  the  Knights  of  the  Bath,  new 
ones  were  cleverly  devised  by  cutting  some 
of  the  old  ones  in  half  (they  had  the  same 
design  at  front  and  back),  and  using  the 
carved  backs  thus  set  free  to  form  the 
fronts  of  new  stalls  for  the  east  bay. 
Only  four  of  the  stalls  on  each  side  have 
now  a  carved  back,  as  may  be  seen  from 
the  side  aisles. 

Reading-desks  are  found  only  in  the 
upper  range,  a:nd  are  supported  by  pan- 
elled wainscoting  having  open  tracer- 
ied  arches  with  traceried  soffits,  some  of 
which  are  orriamented  with  the  Tudor 
emblems.  In  the  quatrefoils  at  the  base 
of  the  side  panels  of  the  main  stalls  are 
enrichments  of  roses  and  foliage,  a  castle 
and  a  pomegranate,  the  latter  no  doubt 
here  as  elsewhere  used  in  compliment  to 
the  young  Spanish  bride,  Catherine  of  Ara- 
gon,  married  to  Prince  Arthur,  the  eldest 
son  of  Henry  VII,  but  widowed  in  1502. 

465 


Westminster  'Ahhey 

The  Knights  of  the  Bath.  Unusual 
interest  attaches  to  these  stalls  because  of 
their  early  connection  with  the  Knights  of 
the  Bath.  This  order  dates  from  the 
coronation  of  Richard  II,  the  name  being 
applied  to  certain  knights  created  on  this 
occasion  to  form  the  king's  body  guard  in 
the  royal  procession  from  the  Tower  to 
Westminster  Abbey.  And  since  complete 
ablutions  on  the  vigil  of  their  knighting, 
indicating  purity  in  thought  and  life  and 
the  setting  aside  of  all  that  wr.s  mean  and 
base,  constituted  a  part  of  the  ceremony 
by  which  a  knight  was  created,  the  term 
Knights  of  the  Bath  came  to  be  applied 
to  them:  but  the  term  is  probably  no  older 
than  the  time  of  Henry  V.* 

This  chapel  was  first  used  for  the 
Knights  on  the  creation  of  Charles  (af- 
terward Charles  I),  Prince  of  Wales,  at 

*The  ceremony  of  creating  these  knights  origi- 
nally occupied  three  days.  On  the  first  day,  some 
nobleman  of  dignity  placed  a  golden  spur  on  the 
right  foot  of  each  noviate  knight,  to  indicate  his  title 
to  the  honor  of  knighthood.  On  this  day,  also, 
the  knights  assumed  the  costume  of  some  religious 
order :  and  the  night  following  they  were  to  receive 
the  bath  and  take  oath  "Never  to  sit  in  a  place 
where  injustice  should  be  done  but  they  shall  right 
it  to  the  uttermost  of  their  power,"  with  other  obli- 
gations of  knight  errantry.  The  appearance  of 
these  early  knights  preceding  the  king  as  he  rode 
on  to  be  crowned  at  Westminster  "on  their  horses 
in  admirable  order,"  is  described  by  a  contempo- 
rary writer  as  so  delightful  "that  all  the  spectators 
seemed  to  be  inebriated  with  joy." 

466 


Henry  VIPs  Lady  Chapel 

Charles  (afterward  Charles  I),  Prince  of 
Wales,  at  Whitehall,  in  1616,  when  twen- 
ty-six knights  were  created;  they  came 
here  for  evening  prayers,  and  the  next 
day  in  the  same  place  had  their  oaths 
given  them. 

The  Order  was  revived  in  1725,  in  the 
time  of  George  I,  by  Sir  Robert  Walpole: 
the  witty  Prime  Minister  said  "as  a  means 
of  resisting  the  constant  applications  for 
the  Order  of  the  Garter,"  and  at  that 
time  the  Dean  of  Westminster  was  made 
the  perpetual  Dean  of  the  Order.  In  the 
time  of  James  I,  the  knights  were  younger 
sons  or  brothers  of  peers,  some  represen- 
tatives of  ancient  English  families,  and 
several  were  natives  of  Scotland.  At  the 
revival  of  the  Order  the  number  of 
knights  was  restricted  to  thirty-six. 

The  costume  as  displayed  In  pictures  of 
the  installation  of  18 12  is  most  brilliant. 
The  knights  in  robes  of  crimson  and 
white  satin,  with  long  scarlet  cloaks, 
black  velvet  hats  with  white  ostrich 
plumes  at  the  side  (for  this  occasion  there 
were  twenty  plumes  on  each  hat,  but  three 
is  the  usual  number)  presented  a  splendid 
appearance.  The  youthful  esquires,  rich- 
ly dressed,  stand  in  front  of  their  stalls. 
His  Royal  Highness,  the  Duke  of  York, 
officiated  as  Grand  Master.     The  white 

46; 


Westminster  Ahhey 

robes  of  the  clergy  added  an  effective  note. 
Groups  of  the  newly-made  barons  and  of 
spectators  added  beauty  of  colour,  and 
over  all  was  spread  the  rich,  lacelike  trac- 
ery of  the  loveliest  ceiling  in  all  England. 

Each  knight  had  three  esquires.  At 
the  last  Installation  In  this  chapel,  in  1812, 
the  place  of  each  knight  was  designated 
by  a  copper  plate,  nine  by  six  and  one-half 
inches,  emblazoned  with  his  arms:  the 
esquires  sat  in  the  seats  below,  next  the 
pavement.  Over  each  stall  the  knight's 
banner  was  hung,  the  last  banners  being 
those  now*  in  position,  tattered,  faded  and 
worn.  The  crest  of  each  knight,  resting 
on  what  is  called  a  show-helmet,  crowns 
the  canopy  of  his  stall,  and  spread  under- 
neath each  crest  Is  the  knight's  mantling, 
which  terminates  in  two  heavy,  brushlike 
tassels  which  hang  down  on  the  sides  of 
the  canopy  and  are  heavy  with  the  dust 
of  years,  of  which  it  is  not  now  safe  to 
deprive  them.  In  front  of  the  canopy  is 
fastened  the  knight's  sword. 

The  Misericords  are  richly  carved  in 
a  great  variety  of  designs.    Those  in  the 

*But  the  Order  has  lately  been  revived.  Forty- 
six  knights  were  here  installed,  with  splendid  cere- 
mony, July  22,  1913,  and  bright  new  banners  re- 
place those  long  familiar  to  Abbey  visitors. 

468 


Henry  VIFs  Ladi/  Chapel 

North  side  is  frequently  upturned  to  dis- 
close a  very  interesting  representation  of 
The  Judgment  of  Solomon.  The  story 
is  told  in  three  scenes.  In  the  central  one, 
the  king  is  on  his  throne  surrounded  by 
courtiers:  the  dead  child  is  at  his  feet  and 
the  two  mothers  stand  by:  one  of  the 
courtiers  carelessly  holds  the  live  child  by 
the  feet.  In  one  of  the  side  scenes,  a 
woman  and  a  child  are  sleeping  in  a  bed 
and  another  woman,  bearing  a  dead  child, 
is  stealing  in  to  exchange  it  for  the  living 
child.  In  the  other  side  scene,  both 
women  a're  trying  to  get  possession  of 
the  living  child.  This  is  one  of  the  best 
of  the  entire  series  of  misericords.  The 
carving  is  bold  and  spirited:  the  story  is 
told  with  the  vivid  effect  of  a  rich  engrav- 
ing: the  little  figures  are  still  excellent, 
though  four  centuries  old. 

There  is  also  a  thirteenth  century  mis- 
ericord, probably  from  Henry  Ill's  Lady 
chapel,  which  is  usually  upturned  for  the 
benefit  of  visitors.  It  is  a  conventional 
foliage  design,  rather  crudely  treated. 

The  stalls  of  the  lower  range  have 
misericords  chiefly  of  foliage  and  ani- 
mals with  a  few  groups,  and  are  less 
worth  study  than  those  of  the  upper 
range.  On  the  North  side,  beginning  at 
the  west  end,  the  first  represents  two  wild, 

469 


Westminster  'Ahiey 

bearded  men  (called  wodehouses),  one 
wearing  a  large  hat,  and  apparently  fight- 
ing in  the  woods:  the  supports  are  con- 
ventional foliage.  In  the  second  is  a  rep- 
resentation of  David  and  Goliath,  the  lat- 
ter with  sling  and  stone  advancing  to  meet 
the  giant  with  spear  and  sword.  At  the 
sides  are  a  castle  and  figures  looking 
over  the  wall,  and  a  rabbit  warren  from 
which  little  creatures  are  peeping  out  as  if 
in  fear.  The  fourth  is  a  well  wrought 
shield  of  the  royal  arms  of  France  and 
England  surmounted  by  a  rich  crown:  a 
beautiful  undercut  vine  appears  at  the 
back:  on  the  right,  a  spray  of  bursting 
pomegranates  and  leaves  terminating  in  a 
circlet  of  foliage:  on  the  left,  a  beautiful 
double  rose  in  the  centre  of  a  circlet  and 
a  rose  spray  above. 

The  small  poppyheads  of  the  bench 
arms  at  this  point,  where  steps  lead  up 
to  the  higher  stalls  are  interesting  little 
wooden  figures,  one  headless  and  kneeling 
bears  a  label:  the  other  has  a  shiny  wood- 
en head  much  worn  by  the  hands  of  gen- 
erations of  worshippers  in  these  stalls. 
The  fifth,  sixth  and  seventh  misericords 
beyond  are  of  foliage.  The  eighth  is  in- 
teresting and  represents  a  woodland  scene 
with  beautiful  foliage,  and  two  round- 
faced  men,  one  clasping  the  branch  of  a 

470 


Henry  VIFs  Lady  Chapel 

tree,  wears  a  curious  little  round  cap,  a 
turned-over  collar,  and  his  belt  or  sash  is 
tied  in  a  knot.  The  left  figure  has  longer 
robes  and  his  hands  are  clasped.  Flow- 
ers and  oak  foliage  are  the  supports.  The 
ninth  is  excellent  but  much  broken. 
Horned  creatures  in  the  centre  are  look- 
ing away  from  each  other,  perhaps  caught 
in  the  thicket.  The  fourteenth  is  a  phoe- 
nix rising  from  the  flames:  the  sixteenth 
an  excellent  foliage  design. 

On  the  South  side,  all  the  misericords 
so  far  as  the  twelfth  are  modern.  In  the 
thirteenth,  a  man  seems  to  be  warming 
himself  at  a  fire  and  at  the  sides  two 
chubby  boys  are  playing,  one  astride  a 
cock-horse.  In  the  fourteenth,  two  wild 
men  are  fighting,  one  shoots  an  arrow 
at  the  other,  who  defends  himself  with 
a  shield.  In  the  sixteenth  a  man  holds  a 
ball  of  yarn  which  he  has  apparently  been 
winding  from  a  frame  at  the  side,  and 
kneels  before  a  woman,  who  is  beating 
him. 


End  of  Volume  I. 


DATE  DUE 


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PRINTED  IN  U.S.A. 


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